In the lead-up to new Hollywood-set satire The Studio premiering its first season on Apple TV+, the streaming platform kept doing something that's a well-established element of the entertainment industry: name-dropping. This is the latest project from long-time collaborators Seth Rogen and Evan Goldberg after Superbad, Pineapple Express, This Is the End, Bad Neighbours and its sequel, The Interview, The Night Before and plenty more, with the pair co-creating, co-writing, co-directing and executive producing the series. Rogen (Mufasa: The Lion King) stars, with Catherine O'Hara (The Wild Robot), Ike Barinholtz (Curb Your Enthusiasm), Kathryn Hahn (Agatha All Along) and Chase Sui Wonders (City on Fire) rounding out the main cast. That's a starry group already. Across two trailers, however, a heap of guest parts and cameos were revealed — including for Bryan Cranston (Argylle), Zoë Kravitz (Blink Twice), Paul Dano (Fantasmas), Olivia Wilde (Don't Worry Darling), Charlize Theron (Fast X), Anthony Mackie (Captain America: Brave New World), Zac Efron (A Family Affair), Sarah Polley (Women Talking) Greta Lee (Past Lives), Ice Cube (Teenage Mutant Ninja Turtles: Mutant Mayhem), Rebecca Hall (Godzilla x Kong: The New Empire), Adam Scott (Severance), Ron Howard (Jim Henson Idea Man) and Martin Scorsese (Killers of the Flower Moon). A few days before the show's Wednesday, March 26, 2025 debut Down Under, the full list of well-known talents appearing on-screen arrived. Dave Franco (Love Lies Bleeding), Jean Smart (Hacks), Johnny Knoxville (The Luckiest Man in America), Josh Hutcherson (The Beekeeper), Quinta Brunson (Abbott Elementary), Ramy Youssef (Poor Things), Steve Buscemi (Transformers One), Zack Snyder (Rebel Moon), Aaron Sorkin (Being the Ricardos) and Parker Finn (Smile and Smile 2) are among them, too. It's clear through the roster of names, in The Studio's ten-part initial season itself, and from talking with a number of the show's cast and guiding forces: this is a series with the utmost of love for the art of making pictures, even as it savvily pokes fun at the whole business around movies. The task that Rogen and Goldberg have set themselves, and achieve winningly, is anchoring the act of parodying Tinseltown with details drawn from real-life experiences, assistance from that enviable lineup of Hollywood folks joining in and a celebratory insider spirit. Rogen plays Matt Remick, a film executive who has only ever wanted one job: to run the fictional Continental Studios. It doesn't take long for that dream to come true, or for the character to realise what being a studio head truly means. "I got into this because I love movies. But now I have this fear that my job is to ruin them," he tells his mentor and predecessor Patty Leigh (O'Hara). That line is indicative of The Studio's knack for turning reality into astute, acerbic but affectionate viewing — Rogen and Goldberg once heard it themselves, uttered by an IRL executive. "They're all really close to our experience in some way, shape or form," James Weaver — who co-runs Point Grey Pictures, the production company behind The Studio, with Rogen and Goldberg — tells Concrete Playground about the link between the series' characters and scenarios and actuality. That said, the team's own interactions across their careers were just the beginning. "We met with a lot of people in the industry who are friends of ours, who had run studios, et cetera, and tried to mine their experience for when we're not around. What do they say behind closed doors? And so I think we tried to have an understanding of what those conversations were like." Personal inspiration remains key across the show, though. "Giving a note to a filmmaker that you really respect, and a note that you know is not going to be popular, is something we've definitely had to do," Weaver continues. That 'been there, felt that' vibe is also crucial to the search for validation at the heart of The Studio. Everyone wants it, executives and megastars alike, whether by getting a gig, having their ideas heard, making a hit, leaving a legacy, winning awards, being thanked in public or being seen to have a worthy job. "Wanting to be thanked at an award show because that's the only evidence that you did anything on it is something that we've seen as well," Weaver advises. "I think we're hoping that that's coming through, that the authenticity of our experience is in the show, and that's partially, I think, what people seem to be liking." In Matt's Continental team, three fellow studio employees are rarely far from his side: Barinholtz's Sal Seperstein, another seasoned executive; Hahn's Maya Mason, the company's marketing head; and Wonders' Quinn Hackett, an up-and-comer. From their respective time in the business, each is familiar with the types of characters that they're portraying — and that knowledge played a part in their performances, sometimes directly and sometimes in a more general sense. "A lot of studio executives I've worked with over the years, some great, some not so great, but I pulled little moments from a lot of them and put them into Sal," Barinholtz notes. "I have not one specific person. What they wrote was what I basically followed. But as I was putting the costumes on, there's definitely some humans, one could say," Hahn says. For Wonders, "my best friend is an assistant to a director, and she is someone who's very precocious, very ready to take over the world, but definitely has to earn her stripes and bide her time, and I think lots of young, ambitious people can relate to that. So that's one person I had in mind." As Continental's execs weather everything from endeavouring to capitalise upon the intellectual property-driven movie trend by making a Kool-Aid flick to attempting to capture an expensive golden-hour one-take shot — plus missing footage, casting conundrums, trailer scandals, the Golden Globes and annual US movie theatre-owner convention CinemaCon — chaos is their baseline. Still, Wonders also sees the series as having "a big sense that if you love what you do and you do it with integrity, as sappy as that is, there is going to be something in it for you, some sort of goodwill that comes your way. I feel like these characters find they have sad lives where they just are so dedicated to this one thing, and at the end of the day they kind of find their family. So that's a nice universal message". [caption id="attachment_997078" align="alignnone" width="1920"] Photo by Eric Charbonneau/Apple TV+ via Getty Images.[/caption] And that oner? It isn't just a focus of a storyline within the show; long takes are also part of its own style. "It felt like every scene was a play, like you're doing a different play every scene — and just once you got dialled in, once we rehearsed and you knew what you were doing, it was really exhilarating to be in that zone," Barinholtz shares. "It's definitely more challenging, but then it's amazing how much you can accomplish," adds Hahn. "There's something heightened about doing it as a oner that I really, really love." We also chatted with Goldberg, Weaver, Barinholtz, Hahn and Wonders about the love that's baked into The Studio, that search for recognition that drives its characters, ensuring that the series is relatable far beyond Hollywood insiders, its visual approach, those cameos and more — including how Barinholtz and Hahn's past TV comedy roles on recent greats such as The Mindy Project, Parks and Recreation and The Afterparty came in handy. On How Everything in the Series, Jokes and Cameos Included, Filters Through the Show's Love for the Film Industry James: "At the beginning of the show, we really knew that this was going to be about having a show about how we love making movies. So I think it comes through the lens of that, everything that happens. So in terms of making jokes about A24 or some of the other companies that are in there, we've made movies with A24. They're great people. They do incredible work. And so I think the entire show is about our experience in Hollywood for the last 15 years, and I think we're trying to bring some truth and some sense of 'this is how it is', but also all through the lens of humour and fun. As far as the cameos, each of them came about in different ways. Some of them are people we've worked with in the past. Some people like Martin Scorsese or Zoë Kravitz, we met for the first time — and either through the script that Seth and Evan had written or through meetings, we talked to them about how we wanted to portray them in the show. And they were really excited and game. There is a history, whether it be The Player or The Larry Sanders Show, of Hollywood satirising itself. And so that was something that people understood, what we were going for, and people were really trusting and excited to be there. I think that we're not necessarily worried that people are going to see the show as some sort of takedown of Hollywood, because we love Hollywood and we love the fact that we get to make movies. It really is more of a presentation of our experience through the comedic lens than it is any takedown of the industry." On Barinholtz, Hahn and Wonders' First Impressions When The Studio Came Their Way Kathryn: "I mean, just to hear that these humans were involved. And I've never really worked with Seth and Evan together. And just the writing of it was just hilarious. And to think of these humans in those parts was really exciting. I couldn't wait to jump in." Chase: "They're telling very risky jokes, and I remember reading them on the page and thinking 'this is something I've heard behind closed doors, but never on television for all eternity'. So it's always good when you feel like you're doing something that's pushing boundaries." Ike: "I remember Seth called me and said 'hey, we're writing ...'. And I said 'I'm in'. And he said 'it's a show about Hollywood'. I said 'I'm in'. And he said 'Catherine O'Hara is going to be in it'. I said 'I'm in. I'm already in.'. It was the world's easiest 'yes'. It was just literally the world and the writing, and having them and Catherine — and Bryan Cranston, who is in really good physical shape. Beautiful body. It was the world's fastest and easiest 'yes'." On the Search for Validation That's at the Heart of the Show Evan: "I would say the nice thing about that element of the series is we set out not to make an aspirational version of Hollywood, but to make a real version of Hollywood. And that is the real version of Hollywood. People are very cynical and all that in the world today, but Hollywood is mostly people who are wildly passionate, care deeply and would rather do this than anything else in the world — no matter how high or low they are on the totem pole of success. People just are passionate in a way that most industries aren't. And so we get to tap into those hopes and dreams in making the show, merely by trying to replicate the real experiences we've had. And, of course, it doesn't always work out for people, and sometimes it does and sometimes it doesn't, but the passion is the thing that bleeds through it all." On the Importance of Balancing Satire and Affection for the Cast — and the Fact That The Studio Takes the Art of Filmmaking Very Seriously Chase: "I think it's important. And one thing Seth and Evan really tried to hit is the realism of the comedy, and comedy born of situations where people are just trying their hardest and it's just these doofuses who can't quite get it right. It also helps when our production design is impeccable, the way we filmed it is so high-level and it just naturally lends itself to a more elevated, smart type of comedy than just a slapstick sort of thing." Kathryn: "Because everything is so elevated, you really feel a certain responsibility to uphold the world around you and the filmmaking around you. And there is less opportunity for hamming around. So everything feels very focused in a way that keeps the energy legit and high and focused." Ike: "Could not say it better than they just did, so I won't." [caption id="attachment_997090" align="alignnone" width="1920"] Photo by Eric Charbonneau/Apple TV+ via Getty Images.[/caption] On How Barinholtz and Hahn's Past Work on Fellow TV Comedies Such as The Mindy Project, Parks and Recreation and The Afterparty Helped Them on the Path to The Studio Kathryn: "All good ensembles." Ike: "Yes, yes." Kathryn: "Great ensembles." Ike: "Great showrunners." Kathryn: "Yes." Ike: "Great writing." Kathryn: "Great writing." Ike: "We're lucky to have been through a lot of those and seen how they all work. And this was different than all those, just because they went about it a different way. But I think you learn every time you do a show, every time you do an episode of a show or whatever, you learn something, you learn a new trick. So it definitely makes it easier." On the Elements of the Series That Most Felt Real for the Cast and Crew James: "It all feels real to us. I mean, I think we day to day are in these conversations about what kind thing to get behind in terms of a movie or TV show — or who's a filmmaker or a performer that we really believe in. Then we have to have those conversations about 'how is this thing going to make people money?'. It's really this idea of art versus commerce that I think is at the centre of what the show is. But as Evan was just saying, I think then you put overlay that with characters who care deeply about doing something artistic, but also care deeply about not getting fired. And so I think those two ideas are butting up against each other at all times. And that feels very real. The executives that we've been working with for 15 years are friends of ours. We've watched them get married to each other and there's a lot of like, a lot of community, in terms of the people that this show is portraying. And so it all feels very real to us when it goes through that lens. Seth and Evan are also just very, very funny people. So when it comes to making the jokes and the scenarios out of the real thing, they're just very talented at making that funny and entertaining. But it comes from a real place, and I think that's why hopefully people like respond to the show." Ike: "I'm friends with a lot of people who are studio executives, and I think they like to drink a lot. And so I stole that, and I drink a lot in the show. In real life, moderation — but in the show, I have a problem." Kathryn: "Always moderation." Ike: "Always moderation. That's the takeaway." Chase: "I think also studio execs are people who wield a lot of power, but when they're put in front of actors, who are these big personalities, they can be very shy and kind of cower away. And that's something that's both really fun to play the comedy of and also show the humanity of these characters." Ike: "That's a good answer." Kathryn: "I definitely have been in things in which I've seen the mockups for the posters or the possible trailers, and clearly no one has seen the show or the movie. They're so wildly not what the movie's about." Ike: "Yes, yes, yes." On Making the Series Relatable Outside of Hollywood Ike: "I think that the guys, Seth and Evan, did a very good job — even though the show is undeniably set in this world of movies and studios and executives, I think a lot of the situations in each of these episodes are things that everyone has dealt with. We've all had a boss who's gotten too drunk. We've all wanted credit for something and we are afraid we're not going to get credit for it. We've all been jealous of a coworker at some point. So I think a lot of the themes that they deal with in the episodes are universal, and whether you are someone who works in entertainment or around entertainment, or you have nothing to do with entertainment, you'll recognise a lot of those themes and scenarios, and hopefully they'll make you laugh." Kathryn: "Chances are people watch entertainment, so they'll get an idea of what the situations are. But also it's made with love, and so I think that's a different thing, too. There's such care for these characters and there's such love for this business of making movies, and nobody's really tearing down anybody. And I think that that also feels fun for an audience, too." On the Visual Approach When You're Making a TV Series About Filmmaking Evan: "For our show, the method we filmed it came from two different sources. One was, directorially Seth and I have done a lot of improv comedy feature films where we do a wide shot, medium and we get cross coverage of closeups, and then in editing we mess with all the improv we did. And we just wanted to do something very different, so we thought long extended takes would be a great way to do that and to make it more directorial as opposed to written and edited. Then through that conversation, we talked about how it could impact the actual storytelling — and the thing we wanted to embrace was the panic that a lot of these people experience in these jobs. These studio heads, even though they're very powerful and very passionate and very intelligent, they're often panicking because they can just lose their job for one big disaster. One flop and their whole job, maybe even their career, could be done or messed up for a long time. So we thought it would good to anchor people in that mania, and in that intensity, and let them feel the panic — and the best way to do that is make it feel like you are a person, like you are the cameraman, like there's an individual there. So we used one lens with long takes, and it whips back and forth just like your own head would if you were in that room experiencing the scenario that our characters are." On Working with Seth Rogen in His Many Roles on the Series: Star, Co-Creator, Co-Director, Co-Writer and Executive Producer Ike: "Oh man, I'd worked with him a couple times but never as a director. And he's really incredible, I think, at acting and being present in the scene — but he's watching everything. So if there's a slight little problem in a take, if the camera operator accidentally bumps into someone and the camera shakes for half a second, Seth has seen it. And he will just start laughing and go 'let's go again'. But he's just very tuned in. I'm very impressed at how much. You would think, that for who he is and what he ingests, he would be just not — but he is so freaking tuned in. And he's also just an incredibly good-natured guy. I think a lot of times, if something goes wrong, I've seen directors or producers blow their stack and get mad — and I don't know, it's just they're nice Canadian boys who just don't get that upset." [caption id="attachment_997093" align="alignnone" width="1920"] Photo by Eric Charbonneau/Apple TV+ via Getty Images.[/caption] Chase: "Doesn't yell, doesn't get mad." Ike: "They don't yell." Kathryn: "You could see sometimes when you screwed up and you're trying to find a word, and then you see him, you see him basically shake his head and look at you." Chase: "Yeah, yeah, yeah." Kathryn: "And you're like 'well, save me'." On the Securing The Studio's Many, Many Cameos James: "Martin Scorsese was someone that we all admire and never thought we would have a chance to meet. Seth and Evan wrote a script with him as that character, and we sent it to him and he read it, and he was like 'yeah, I'd love to do it'. And then all of our heads exploded, basically. But then people like Charlize Theron or Zac Efron, they're all people that we have worked with in the past, so they were people that we could talk to directly and say 'hey, we have this idea for a character for you in our show'. And then there were some new people we got to meet, like Zoë Kravitz or Olivia Wilde. They were characters that we wrote for the show, and we just had to meet with them and get their ideas on that character. Seth and Evan were on a lot of zooms with each of them before they signed on. But it was nice, because I think once Martin Scorsese said yes, there were several phone calls that I started with 'so Martin Scorsese's doing the show — so can you do the show?'. And that was really nice, because people would generally say 'yeah, sure'." The Studio streams via Apple TV+.
Don't settle for a tired lunch option or a drab post-work session. Instead, head to Il Mercato Centrale for an elevated feast. Spanning a massive, three-storey, Italian food precinct, this place was huge news when it was announced to open in late 2022, as it was set to become the first Il Mercato Centrale to launch outside Italy. While the initial plan hit a few snags, the doors finally swung open in September 2024, meaning hungry office workers and budding epicureans had a brand-new culinary destination to explore, brimming with gourmet goods from top to bottom. Now, several of the joint's 23 artisanal food stores are serving up some of the best-value eats and drinks in the CBD, with a host of daily specials to explore. Creating a whole new dynamic for mid-week meals, Il Texas Barbecue is bringing the fiery flavours of Central Texas to Melbourne with $3 Taco Tuesdays. Founded by Pitmaster Nathan Zammit, expect spit-roasted al pastor pork, sliced fresh off the trompo and loaded onto toasted tortillas. On Wednesdays, it's all about post-work fun, as Wine Down Wednesdays at l'Enoteca invites guests to sip on four stellar wines and a curated pizza board for $49. Running from 5.30pm–8.30pm, this mid-week slowdown is primed for low-key gatherings. Then, knock off early on Fridays, with freshly shucked oysters served all day for $1.50. As the weekend arrives, the specials don't stop. Saturdays now welcome visitors to score a stacked smash burger with fries for $13. For those craving a sweet treat, there's also house-made crepes and golden waffles drizzled in goodness for just $15. "Melbourne knows good food, and we believe good food doesn't need to break the bank, especially when it's part of your everyday," says Gino Liparota, General Manager of Il Mercato Centrale Melbourne. "These offers are our way of opening the doors to more people, more often, whether you're grabbing a quick lunch or winding down with a group of friends after work." Il Mercato Centrale Melbourne is open Sunday–Thursday from 7am–9pm and Friday–Saturday from 7am–10pm at 546 Collins Street, Melbourne. Head to the website for more information.
Transforming traditional higher-end retail shopping into a gallery-like experience, Melbourne-born atelier A-ESQUE has revealed a new concept store. Arriving on High Street, Armadale, this storied shopping strip is now home to A-ESQUE World — a considered space where culture and creativity combine through experiential moments. Guided by several trips to Salone del Mobile.Milano — a globally-renowned event for furniture and design — A-ESQUE founder Amanda Rettig saw an opportunity to reimagine Australia's struggling high-street experience with something more immersive and theme-driven. The result in the brand's new space, brought to life through monthly events, installations and collaborations. "A-ESQUE World shifts the dial on retail experiences for 2026, delivering creative installations and experimental retail moments. Whilst the space will continue to evolve over time, our opening focus was to restore the High Street location to its original material and layer in our opening exhibition," says Rettig. More than just a place to shop the brand's luxury handbags, A-ESQUE World is envisioned as a permanent cultural destination. Incorporating found objects, art and coveted furniture pieces, the space also elevates Melbourne's art scene through a rotation of artists-in-residence and exhibitions. In essence, it's about reinvigorating what's often now a tired retail experience. "We want the High Street experience to draw people back, to be eager to see what's going on, to discover and delight. It will be another creative platform that will not only share more about A-ESQUE in a new environment, but it will also frequently change to showcase a range of incredible local Australian artists, like a traditional gallery space does," explains Rettig. For the first in-store artist collaboration, furnituremaker Ashley Eriksmoen is making the most of the space, showcasing a piece that transforms salvaged, discarded timber into new forms. Meanwhile, signature scents, a curated playlist and thoughtfully selected accoutrements evoke A-ESQUE World's admiration for materiality, cultural collaboration and desire-led creation. A-ESQUE World is now open daily from 10am–5pm at 968 High Street, Armadale. Head to the website for more information. Like what you see? Subscribe to the Concrete Playground newsletter to get stories just like these straight to your inbox.
In 1999–2001 TV series Spaced, one of Nick Frost's first-ever roles — also, before Shaun of the Dead, Hot Fuzz and The World's End, his initial screen collaboration with Simon Pegg (Mission: Impossible — The Final Reckoning) and Edgar Wright (Last Night in Soho) — he played a character who was obsessed with weapons and the military. A quarter of a century later, he's portraying someone that's training dragon fighters and forging armaments as a blacksmith. "I'm just trying to see now if there's a connection between Mike and Gobber," Frost jokes with Concrete Playground. "I mean, I think Mike would be a great Gobber. Maybe Berk is actually where Mike ended up. Maybe there was some awful apocalypse in Spaced that we never saw and he eventually became Gobber." If you'd like to embrace that theory about one of Spaced's key figures, you can. You heard it from Frost, after all. Regardless, the English talent is now one of the stars of How to Train Your Dragon in its latest iteration as a live-action film. British author Cressida Cowell started the all-ages-friendly Viking tale on the page in 2003, sparking a book saga that's spanned 12 novels. In 2010, filmmakers Chris Sanders (The Wild Robot) and Dean DeBlois (the OG Lilo & Stitch) brought her tales to cinemas in animation. The latter also wrote and directed 2014's How to Train Your Dragon 2 and 2019's How to Train Your Dragon: The Hidden World, and now does the same on the newest big-screen visit to Berk. How to Train Your Dragon fans know the story, then, but they haven't seen it unfurled with actors literally stepping into the shoes of its isle setting's inhabitants. Before Mason Thames (Monster Summer) returns to the world of The Black Phone in that horror hit's sequel later in 2025, he's Hiccup Horrendous Haddock III, the reluctant fledgling dragon fighter who befriends one of the most-feared types of the winged creatures — not that you'd know it from Toothless' appearance and demeanour — and champions living in harmony with rather than waging war against them. Gerard Butler (Den of Thieves: Pantera) voiced Hiccup's chieftain father Stoick the Vast in the animated movies, and now reprises the part in How to Train Your Dragon's present leap. As first given voice by Craig Ferguson (The Hustler) in the previous pictures, Frost's Gobber is Stoick's friend and Hiccup's mentor, plus a source of support for a young man who is struggling with living up to his dad's expectations. The dragons themselves still required visual effects to animate into existence, with life-sized puppets used during shooting for the actors to work against. Everywhere that it can, however, How to Train Your Dragon circa 2025 is immersed in a tangible Viking-inspired realm. For Frost, as Gobber is charged with imparting dragon-battling skills not just to Hiccup but to other young warriors — the determined Astrid (Nico Parker, Bridget Jones: Mad About the Boy), plus a group of Berk's fellow next generation spanning Snotlout (Gabriel Howell, Nightsleeper), Fishlegs (Julian Dennison, Y2K), and twins Ruffnut and Tuffnut (Mickey 17's Bronwyn James and The Acolyte's Harry Trevaldwyn) — that meant ample days in the film's training-arena set. This part also saw him continue to build upon father figure-type roles that've been joining his resume of late. "It's because I'm getting old," he jests. A jovial "get stuffed!" is Frost's first comment when the passage of time since Spaced and Shaun of the Dead comes up. He's spent that quarter-century-plus since the former kicked off and more than 20 years since the later arrived cementing himself as a beloved actor with a diverse resume. On his filmography, The Boat That Rocked sits side by side with US-set alien comedy Paul — which Frost and Pegg wrote — and also with Attack the Block, voice work alongside Pegg again on The Adventures of Tintin, two Snow White and the Huntsman films, leading rom-com Cuban Fury, TV's Mr Sloane, wrestling flick Fighting with My Family, the Pegg co-starring Truth Seekers and loaning his tones to Skeleton Crew's SM 33. There's more, of course, such as Ice Age, The Boxtrolls and Trollhunters; 2024 horror efforts Krazy House, Get Away and Black Cab; and, in his latest significant news, playing Hagrid in the upcoming HBO Harry Potter series. Frost is responsible for decades of folks asking if their friends want a beer in quite the colourful way, repeating perhaps his best-known Shaun of the Dead line. With that film's Peter Serafinowicz (Wolf King) by his side as How to Train Your Dragon's Spitelout, he's currently in completely different terrain. What appealed to Frost about joining the franchise, and also juggling the family-friendly and definitely not child-appropriate sides of his resume, was equally a topic of conversation in our chat — alongside a range of other subjects, such as adding his own stamp on Gobber, his personal connection to using humour as a shield, that massive training arena, the importance of DeBlois returning as director and Frost never wanting to be an actor. On Taking on the Role of How to Train Your Dragon's Dragon-Fighter Trainer "First of all, it's a massive film. It's part of a really well-loved — I hate the phrase 'franchise', but that's what it is. And apart from maybe Snow White and the Huntsman and stuff like that, I hadn't really done anything perhaps this massive before. And I think being a filmmaker and a writer and an actor, it's like 'let's do this, let's try this — this is different, let's have a go'. I think part of me was aware that obviously Craig Ferguson was Gobber in the past. And people love what Craig did. And I was aware that I didn't want to ruin what he did — I was aware that there was a responsibility on me to make Gobber what people felt watching Craig's Gobber. And I think having a conversation with Dean before I got the job, he was like 'what do you want to do?' — I think once you realise that you have a certain amount of creative freedom, that's really attractive, I think, for me. And to collaborate, that's always a joy. And to know that you have a voice on set and you can say 'hey, is this all right? Can we try this?' or 'do you think this is funny', it's always a lovely compliment to be allowed to do that." On Bringing a New Guise to a Part That's Already Well-Established in the Animated Films "Honestly, I didn't, after the initial few days of getting the job and speaking to Dean, I just left it at the door and then came in completely without that. I didn't want to feel like that was on me for the whole thing, and that I couldn't try anything new or be different because it wasn't what had gone before. I just wanted to try and, as I say, respect what that was, but then let's move on and try to give a different kind of Gobber for a new generation of audiences — but also, I guess, leaving something of what Craig did so people who love the animated ones will enjoy it, too. I think, personally, if I'm going into this with the expectations of what people will think, I think you'd probably just be crushed. You just have to unburden yourself from all of that and just do what you think is right, do what Dean wants, and be respectful of that process and the process of the other actors in the film with you." On What Interests Frost About the Variety of Projects Across His Career, Including Both Family-Friendly Fare and Horror Films Aplenty of Late "I just don't see them as any different, really. It's still all work. I think I'm probably very lucky and grateful that I haven't been pigeonholed in 'oh, well he just does that'. I think that is possible and that does happen. And I'm very pleased that the people who cast things like Harry Potter and this don't think 'oh god, he was cutting someone's head off in a film that he wrote like two years ago. Is that going to be a problem?'. I love the fact that I can do both. I can get away with it all." On Portraying Someone Who Uses Humour as a Shield to Deal with an Uncertain World "I think that's me. That was me for a long time. I think where Gobber and I differ, he just uses it — I think if you live in a society like Berk and where the Vikings are from, I think probably the sense of humour is very dark, because essentially you could be taken and killed in at any moment, day or night. So I think using comedy and laughter as a shield is par for that kind of society. I think where it becomes not so useful is when you hide behind it and not work out what's behind that." [caption id="attachment_1009286" align="alignnone" width="1920"] Tyler Curtis/ABImages[/caption] On Stepping Into Paternal-Type and Mentorship-Style Roles "I just think I'm a dad, I've got three children, so I just get it more. I guess when before I had children and if you're going to be a kind of father figure, you're just — as a lot of actors do — you're just imagining what it would be like. And you're drawing on your own father or your grandfather or stepfather. But once you have your own, I think as I act, I always try to get better. Every job I do, every role I play, I just want to be better and better and better. And I think an actor's ageing gives you that opportunity. Every time you do something else, you're slightly older. You've seen a tiny bit more. And what I think, what I'd say about this film, is I know people are saying potentially 'oh, he's quite paternal' — but I actually think Gobber's more maternal in this film. I think he's stepped in to be Hiccup's mum." On the Impact That Immersive Sets Have, Especially How to Train Your Dragon's Training Arena "That was the first thing we shot, and it was really nerve-wracking, because it's massive. It's honestly the size of a small soccer stadium. And there are 200 crew, and there are 500 extras and they're all dressed as dragons. And they all know you, they're looking at you, and you have to give them a little wave. And it's frightening. I think what 25 years in this has given me is you have to shrug that off, and it just becomes about my relationship with the camera and Dean and whoever I'm acting with, and Bill Pope [Unfrosted] the DoP. 'What can I give to you? How can I help you? Should we have a run through our lines?' And I think what helps is making something that massive that small, it helps me cope with it more emotionally, more effectively — because if I were to look around and think 'all these fucking people', it becomes unmanageable emotionally for me." On How Dean DeBlois Continuing as How to Train Your Dragon's Director From the Animated Films Assisted the Cast "Dean, he absolutely loves it. He loves How to Train Your Dragon. He loves Hiccup. He loves Stoick and Gobber and the gang. And he's just passionate about it, and I find being around someone who's so passionate about something, it's really attractive. It makes me love it, too. And I wanted Dean to like me. I wanted him to like Gobber. And I wanted him to, when you're working with someone like Dean, when he just comes up behind you and gives you a little pat, it's like 'oh dad, dad likes it', you know — 'he loves it'. It's nice to be around that kind of passion. It's conducive. It makes me want to be around it, too." On Frost's Journey Over the 25 Years Since Spaced and Two Decades Since Shaun of the Dead "It's not lost on me. It's amazing. I never wanted to be an actor. I never wanted to act. I never knew what I wanted to do. Even, I was like 30 when we did Shaun of the Dead, and that was the first film I ever did. So I just — and this is going to sound like, I don't want to say actor-y bullshit, but I'm just terribly grateful, I'm amazed, and I just love it. I'm so lucky that I found something that I — there's not one day I've ever been on a set in 25 years where I haven't loved it in some way, shape or form. And to get a chance to do that, and then to start getting bigger and bigger things, it feels like a dream to me, really. Like when I got How to Train Your Dragon and you realise the kind of people who have to say 'yes' before you get the role — that was terribly flattering for me that someone, somewhere, had to say 'yeah, he's the guy. We'll have him'. It's not lost on me how lucky I am every single day. I'm sitting here, someone brings me a coffee‚ it's like 'this is amazing'. It's amazing to me. And I love it. I love making films." How to Train Your Dragon opened in cinemas Down Under on Thursday, June 12, 2025.
Australia's festival scene keeps delivering heartbreak, with Mona Foma the latest major event to announce that it's no longer going ahead. 2024's fest has already taken place, running back in February, but it will now go down in history as the last-ever Mona Foma. Tasmania's Museum of Old and New Art, aka Mona, has called time on its summer festival after a 16-year run of showcasing music and art — and giving Dark Mofo a sunny counterpart — during the Apple Isle's warmer months. Mona owner and founder David Walsh revealed the end of Mona Foma in a statement, bidding farewell to the event because "it's been magical, but the spell has worn off". [caption id="attachment_784488" align="alignnone" width="1920"] Mona/Jesse Hunniford. Image courtesy of the artist and Mona Museum of Old and New Art, Hobart, Tasmania, Australia[/caption] "At Mona Foma — Mofo — at the Peacock Theatre, we joined the Zen Circus, and Italian punk came to live, rent free, in my head," starts Walsh's missive, which begins by running through past festival highlights. "In 2023 Peaches turned us all on with her sexy songs, but the thing that turned me on the most was the sign language interpreter signing 'peg'," he continues. "Guy Ben-Ary in 2017, wiring living neurons to speakers and cajoling them to scream. Gotye playing the ondioline. Robin Fox's beacons. David Byrne and Philip Glass. Wire and Cale. The Saints and St Vincent. Dresden Dolls and Dan Deacon. Sun Ra and Neneh Cherry. Kate Miller-Heidke and Vieux Farka Touré." "And the finches playing guitar. From Here to Ear. That was the first one, in 2009. We bought that work, but we've never shown it again. It was too much the first time." [caption id="attachment_880158" align="alignnone" width="1920"] Mona/Rémi Chauvin. Image Courtesy Mona, Museum of Old and New Art, Hobart, Tasmania, Australia.[/caption] "Mona Foma took us around the world. But it ends here. Maybe the end started at COVID. Maybe it's because the last festival was a poorly attended artistic triumph. But those aren't the reasons I killed it," Walsh notes. "I know that we live for experience but, more and more, I seek permanence, a symbolic immortality. At Mona, I'm building this big thing, hopefully it'll be a good thing, but it's a costly thing. I'm addicted to building, and my addiction got out of hand. Some things have to go before I'm too far gone." "Mona Foma is one of those things. It's been magical, but the spell has worn off. Only these words, from Kurt Vonnegut's Cat's Cradle, remain: 'live by the Foma that makes you brave and kind and healthy and happy.'" [caption id="attachment_832077" align="alignnone" width="1920"] Jesse Hunniford, Mona[/caption] Ending Mona Foma is the latest big change for Mona's festivals. As announced in 2023, Dark Mofo is taking a breather in 2024. A number of the latter's regular events, such as Winter Feast, the Nude Solstice Swim, Night Shift and the Mona Gala are still happening this year, however. With Dark Mofo, the plan is to press pause for 12 months to take stock and come back even better. "The fallow year will enable us to secure the future of Dark Mofo and its return at full force in 2025," said Dark Mofo Artistic Director Chris Twite in 2023. The Mona Foma news comes after both Splendour in the Grass and Groovin the Moo cancelled their 2024 festivals mere weeks after announcing their lineups. Falls Festival took summer 2023–24 off, Summergrounds Music Festival at Sydney Festival was cancelled and This That hasn't gone ahead for a couple of years now. [caption id="attachment_926552" align="alignnone" width="1920"] Amy Brown, image courtesy of Street Eats @ Franko Hobart and Mona Foma.[/caption] 2024's Mona Foma featured Queens of the Stone Age, Courtney Barnett, TISM, Paul Kelly, Mogwai, Shonen Knife, and Cash Savage and The Last Drinks, for starters — and Holy Fuck, Wednesday, Michael Rother and Friends (playing Neu! songs), and Lonnie Holley with Moor Mother and Irreversible Entanglements. The lineup goes on from there. "Gratitude to all of you that came. And to those who didn't, a silver lining: you'll no longer suffer from FOMO for FOMA. And anyway, repetition is regimentation. And regimentation is ridiculous," said Walsh in his announcement. "Greatest gratitude to those who helped put it together. I hope it was as good for you as it was for me." [caption id="attachment_830704" align="alignnone" width="1920"] Remi Chauvin, Mona.[/caption] Mona Foma's last festival took place in February 2024. Head to the MONA website for further details. Top image: Mona/Jesse Hunniford. Image courtesy of the artist and Mona Museum of Old and New Art, Hobart, Tasmania, Australia
Maybe you've spent much of 2020 glued to the small screen, viewing your way through this year's lockdown periods. Perhaps, as cinemas have been reopening around the country, you've flocked to the big screen to get your movie fix. Either way, if you've been thinking and supporting local — as has been the trend all-round in 2020 — then you've had plenty of Australian films and television shows to watch. And, from this hectic year, the best of the bunch have just been singled out at the 2020 AACTA Awards. Previously called the AFI Awards, the AACTA Awards announced its nominees back at the beginning of November, then handed out its trophies on Monday, November 30. The accolades span multiple types of screen content, so a hefty number of local productions were vying for a gong — but there were two big winners, with one each in the film and TV fields. Just calling Babyteeth a teen cancer drama doesn't quite cover just how complex, nuanced and intimate the movie is, as AACTA members clearly agree. It was named Best Film, and also won Best Director (Shannon Murphy), Screenplay (Rita Kalnejais) Actor (Toby Wallace), Actress (Eliza Scanlen), Supporting Actor (Ben Mendelsohn ) and Supporting Actress (Essie Davis), from a total haul of nine awards. On the TV front, if you've watched miniseries Stateless this year, then you've seen the most-awarded television production of 2020. It received 13 gongs, including Best Telefeature or Mini Series, Best Lead Actor in a Television Drama (Fayssal Bazzi), Best Lead Actress in a Television Drama (Yvonne Strahovski), Best Guest or Supporting Actor in a Television Drama (Darren Gilshenan), Best Guest or Supporting Actress in a Television Drama (Cate Blanchett), Best Screenplay in Television (Elise McCredie) and Best Direction in a TV Drama or Comedy (Emma Freeman). Across both fields, other winners included Mystery Road (Best Drama Series), Upright (Best Comedy Series), Tim Minchin (Best Comedy Performer, for Upright), Standing Up For Sunny (Best Indie Film) and Firestarter – The Story of Bangarra (Best Documentary). Here's a rundown of the major nominations and winners — and you can check out the full list on the AACTA's website: AACTA NOMINEES 2020 FILM AWARDS: BEST FILM Babyteeth — WINNER H is for Happiness I Am Woman The Invisible Man True History of the Kelly Gang Relic BEST INDIE FILM A Boy Called Sailboat Hot Mess Koko: A Red Dog Story A Lion Returns Standing Up for Sunny — WINNER Unsound BEST DIRECTION Shannon Murphy, Babyteeth — WINNER John Sheedy, H is for Happiness Leigh Whannell, The Invisible Man Justin Kurzel, True History of the Kelly Gang Natalie Erika James, Relic BEST LEAD ACTOR George MacKay, True History of the Kelly Gang Sam Neill, Rams Richard Roxburgh, H is for Happiness Toby Wallace, Babyteeth — WINNER Hugo Weaving, Measure for Measure BEST LEAD ACTRESS Tilda Cobham-Hervey, I Am Woman Laura Gordon, Undertow Elisabeth Moss, The Invisible Man Lupita Nyong'o, Little Monsters Eliza Scanlen, Babyteeth — WINNER BEST SUPPORTING ACTOR Fayssal Bazzi, Measure for Measure Russell Crowe, True History of the Kelly Gang Aaron Jeffery, The Flood Ben Mendelsohn, Babyteeth — WINNER Wesley Patten, H is for Happiness BEST SUPPORTING ACTRESS Emma Booth, H is for Happiness Essie Davis, Babyteeth — WINNER Bella Heathcote, Relic Deborah Mailman, H is for Happiness Doris Younane, Measure for Measure BEST SCREENPLAY Rita Kalnejais, Babyteeth — WINNER Abe Forsythe, Little Monsters Leigh Whannell, The Invisible Man Natalie Erika James and Christian White, Relic Shaun Grant, True History of the Kelly Gang BEST DOCUMENTARY Brazen Hussies Brock: Over the Top Looky Looky Here Comes Cooky Firestarter — The Story of Bangarra — WINNER Slim & I Suzi Q TELEVISION AWARDS: BEST DRAMA SERIES Bloom Doctor Doctor Halixfax: Retribution The Heights Mystery Road — WINNER Wentworth BEST TELEFEATURE OR MINISERIES The Gloaming Hungry Ghosts Operation Buffalo The Secrets She Keeps Stateless — WINNER BEST COMEDY SERIES At Home Alone Together Black Comedy The Other Guy Rosehaven Upright — WINNER BEST LEAD ACTOR IN A TELEVISION DRAMA Fayssal Bazzi, Stateless — WINNER Bryan Brown, Bloom Jai Courtney, Stateless Ewen Leslie, Operation Buffalo Aaron Pedersen, Mystery Road BEST LEAD ACTRESS IN A TELEVISION DRAMA Jada Alberts, Mystery Road Rebecca Gibney, Halixfax: Retribution Asher Keddie, Stateless Pamela Rabe, Wentworth Yvonne Strahovski, Stateless — WINNER BEST COMEDY PERFORMER Milly Alcock, Upright Anne Edmonds, At Home Together Luke McGregor, Rosehaven Tim Minchin, Upright — WINNER Celia Pacquola, Rosehaven BEST GUEST OR SUPPORTING ACTOR IN A TELEVISION DRAMA Rob Collins, Mystery Road Darren Gilshenan, Stateless — WINNER Damon Herriman, The Commons Callan Mulvey, Mystery Road Ed Oxenbould, Bloom BEST GUEST OR SUPPORTING ACTRESS IN A TELEVISION DRAMA Cate Blanchett, Stateless — WINNER Jacqueline McKenzie, Bloom Ngaire Pigram, Mystery Road Tasma Walton, Mystery Road Jacki Weaver, Bloom
When New Year's Eve rolled around in 1999 with its blend of Y2K excitement and anxiety — including fears about how the world, or at least the technology relied upon to run it, might crash — Emily Browning wasn't yet a teenager. Thanks to the film The Echo of Thunder and TV series High Flyers, she was also already an actor, however. Over a quarter of a century later, the Australian Ghost Ship, Lemony Snicket's A Series of Unfortunate Events, The Uninvited, Sucker Punch, Magic Magic, God Help the Girl, Legend, Golden Exits, The Affair and American Gods talent is back at the last evening of the 90s. In One More Shot, she can't escape it. The Aussie comedy, which premiered at SXSW in Austin before its local debut at the 2025 Melbourne International Film Festival, and will hit streaming later in the year via Stan, is a time-loop movie. Rather than Bill Murray waking up each morning to Sonny and Cher's 'I Got You Babe', Browning resets to the front door of a NYE shindig where the sounds of James' 'Laid' echo from the just-starting party inside. After a career so far that's taken her to Hollywood and back Down Under on multiple occasions, Browning is making her own return: to Australian film. The last time that she starred in a homegrown picture was in 2011's Sleeping Beauty. The only other local fare that she's had reach screens between then and now is 2023 Prime Video series Class of '07, which is set at a high-school reunion as an apocalyptic wave hits. The Fox with Jai Courtney (Dangerous Animals), Damon Herriman (Together) and Miranda Otto (The Lord of the Rings: The War of the Rohirrim) is next, as written and directed by Danger 5's Dario Russo. Genre-wise, Browning is charting new territory in each of her three latest Aussie projects, too, embracing her comedy era. When you're leading a movie about reliving the same night over and over again — One More Shot's New Year's Eve cycle is sparked by a magical bottle of tequila — then you're leading a film about choices. Whenever the genre pops up, be it with Groundhog Day, Edge of Tomorrow, Happy Death Day and its sequel, Palm Springs, video-game adaptation Until Dawn or TV series Russian Doll, decisions and selecting the right options are always at their heart. That's a theme that aligns with Browning's approach to her career, especially in the two decades after playing A Series of Unfortunate Events' Violet Baudelaire opposite Jim Carrey (Sonic the Hedgehog 3) as Count Olaf. The film hit cinemas when she was just 16. That kind of fame wasn't her dream, even though she grew up with an avid love of movies. As Minnie Vernon, her One More Shot character, also does as she keeps retracing her steps as the new millennium dawns, Browning learned from it. Her Lemony Snicket experience has influenced how she has chosen projects since. "It's very much feelings-based, and also a desire to not repeat myself — not for the sake of optics or anything, but just because I get bored really easily. So really, I just go towards what interests me," she tells Concrete Playground. "Of course, there's about ten people in Hollywood who get their pick of any movie they want, and I'm certainly not one of them. And so a lot of it is also what's available to me at the time," Browning continues. "It's a combination of that and things that I love. But I've only done one or two things that I really didn't like and that I did because I needed to work. And I think I'm too — I just don't think I have the constitution for that. And so I really mostly just wait for something to come along that speaks to me in some way, and sometimes I wait for a really long time — sometimes I have huge breaks in work. I mean, I'm so incredibly lucky. There are so many talented actors out there who don't ever get the opportunities that I've been given, and so I feel like incredibly lucky for that, but I just follow my gut. I'm just going with what feels right to me." In One More Shot, Browning's Minnie is an anaesthetist who's having a chaotic day that she thinks rekindling her on-again-off-again romance with Joe (Sean Keenan, Exposure) will fix. More than that, she believes that plunging into a relationship with him now that he's back from New York will solve her general sensation that something's missing from her existence. Their loaded pal Rodney (Ashley Zukerman, In Vitro) and his wife Pia (Pallavi Sharda, Spit), who are parents to an infant and feeling the stress of the change to their lifestyle, are their hosts — but the night instantly alters for Minnie when she meets Joe's new girlfriend Jenny (Aisha Dee, Apple Cider Vinegar), then swerves again (and again and again and again) when taking a swig of tequila sees her kick off the party from the beginning once more. [caption id="attachment_1017510" align="alignnone" width="1920"] Nick Robertson | @nickmickpics[/caption] When Class of '07 gave Browning her first taste of comedy as an actor, she was apprehensive. As the series proved, she needn't have been. Browning was also uncertain when One More Shot came her way — especially about playing drunk, one of acting's most-challenging tasks. Again, the same applies. A particular highlight of the Nicholas Clifford (Monologue)-directed, Alice Foulcher- and Gregory Erdstein (That's Not Me)-co-written film, which also features Hamish Michael (Scrublands: Silver), Anna McGahan (Darby and Joan) and Contessa Treffone (Totally Completely Fine) among its cast: Browning's ability, even though every protagonist in every flick hopefully changes and evolves, to convey that shift when those changes and evolutions are firmly in the spotlight — each step along the way, each tweak. How do you respond when a time-loop rom-com that sparks its temporal trickery with slinging shots hits your inbox? What's exciting about diving into comedy more than two decades into your career? Does a transformation arc change how you approach playing a character in a movie like this? In our chat, Browning also filled us in on all of the above, plus finding Minnie's mix of vulnerability and selfishness, acting tipsy, her journey since her first on-screen credit at the age of 11 and the thrill of making Australian projects. On How You React When a Time-Loop Comedy About a Magical Bottle of Tequila Comes Your Way "So every script you get sent, there's sort of a little blurb, like the kind of elevator pitch of the story that's trying to like sum it up in a paragraph or two. I guess that's for the actors who get sent so many scripts that they don't have time to read them all, but I'm just always happy to read a script. The blurbs are also never written by the creatives — they're written by someone at an agency somewhere. And so I read the blurb and I was like 'romantic comedy about a time travelling bottle of tequila?'. I was like 'aaah, I don't know about this. I'm not so sure'. But then I read the script, because I just like to read scripts, and I got not even probably 10–15 pages in and I was like 'oh, wait a sec'. I could just tell immediately that the quality of writing was really good. And I found it really funny. And then by the time I was through it, I was really nervous. I wasn't immediately sold, mostly because I didn't know if I could pull it off. When I first read it, I read it as though Minnie was getting progressively drunker through the whole film. And playing drunk is really, really, really hard to do, and so I was like 'oh, I don't know, this might be too much of a challenge'. But I really related to the themes of the choices that you make in life meaning that you have to say goodbye to other possible choices, and how do you decide what you want your life to look like — and the feeling of regret, and the kind of grass-is-always-greener feeling. And I really loved it. And then I when I spoke to Nick Clifford, the director, he just really further sold me on it. And yeah, I'm really excited about it. I feel really, really proud of it now." On Embracing Comedy After Initially Being Apprehensive Before Class of '07 Gave Browning Her First Comic Role "I love it. I love it so much. And I love it because it still feels really hard to me. I'm a person who gets bored really easily and I like to be challenged. I mean, I know that's a really trite thing to say. I know everyone says that. But without the fear of failing spectacularly, I feel like I don't have the — how do I explain this? I only really am able to be my best, most-creative self when I'm under a lot of stress and when I'm feeling really anxious. I guess it's maybe kind of an ADD thing where I just don't have enough dopamine in my brain unless I'm kind of borderline panicking. And so I think, yeah, comedy still feels really scary, and that's why I love to do it. And I really also, I really credit Class of '07 and Kacie Anning [Madam], the creator of that show, for opening that up in me — because she really put me through the wringer. We were playing improv games and doing a bunch of crazy stuff to prepare for that show. And she was pushing me. She was like 'you're still too afraid of being embarrassed. You still have to be more of a dickhead'. Like, 'you have to embarrass yourself more'. And it really broke something open in me, because I think before that I was really terrified of embarrassing myself, and I kind of wanted — I did a lot of straight drama, and I think I got to the limits of what I could do in my career without being willing to embarrass myself. And so now that's a fun and exciting risk for me — when I read a script where I'm like 'ohh, I'm going to look like a real idiot doing this', that's a pro now instead of a con." On Playing a Character Whose Change and Evolution Scene by Scene Isn't Just in the Spotlight — It's One of the Key Points of the Film "It was a challenge — there's so much repetition of setpieces and of moments, but ideally you don't want it to be repetition of the emotion or the acting, because then it becomes a really boring film. So that was a huge challenge, was like 'okay, how do I make sure every loop, the similarities between every loop' — like the literal similarities — 'feel different enough every time we're doing it?'. And I try not to think too much about how the audience is going to respond to a film. I don't really think that's my job when I'm filming it, when I'm acting. But I definitely wanted to make sure that Minnie, that there was some or a lot of variation between each time loop. But I think having such a clear transformation arc was really fun, actually. I love playing kind of an unlikeable character, and I just think it's more interesting and more fun. And I think Minnie, the fact that we get to watch Minnie over the course of the film go from unlikeable to a-little-bit-more likeable is really great. There's nothing more fun, honestly, than playing a character who has no self-awareness. There's something really freeing about it. As someone who's a total people-pleaser, there's something so enjoyable about playing a character who just doesn't give a shit about other people's feelings." On Finding Minnie's Balance of Yearning and Vulnerability, But Also Selfishness and Recklessness — and Plenty More "It's interesting. I think so much of that is a credit to the writing. I'm trying to get better in my work. I'm trying to get better at being proud of myself and owning the things that I'm good at — which I think growing up in Australia can sometimes be a tricky thing, when it's always like 'oh, don't get too full of yourself'. But I have always thought of myself or I've thought of actors as a medium in the way that paint is a medium. Like, I'm a paint colour and a director chooses to paint with me. And I know I've said this to a few actors and they're completely horrified by it, but an actor has very little control in the outcome of a film. And I think that this is why actors can become such nightmares sometimes, because they have this delusion of control and this need for control, where there really isn't any. It's really a job where you don't get much creative control. And so I think that I just am trying to tap into exactly what I imagine Minnie feels in the moment, and I get that from the script. I know that sounds like kind of a cheap answer. It makes it sound like I have no agency. But I'm a real overthinker in every other area of my life — but when it comes to work, if a character feels right and if a story feels right, something clicks for me where I'm really not thinking very much. I'm not a studious actor. I'm not poring over the script every day. My favourite thing is to get in there and talk about the scene with the director and with the other actors, and then just do it. And when I'm doing, I'm not thinking about it at all." On the Difficulties of Acting Drunk — But Only Really Needing to Act Tipsy Here "One of the ways that Nick Clifford reassured me about taking on the role was by telling me that she doesn't get progressively drunker. She actually resets for every loop. So really, Minnie is only ever tipsy, which is a lot easier — because I think that there's a broader area to play with with tipsiness. Some people, you can tell if they're tipsy — some people, you can't. Minnie is an anaesthetist. She's in a very serious profession. She probably went to a great school and her job means that she's taken very seriously. So I feel like Emily's normal personality-level silliness is probably Minnie's tipsiness. So I wasn't really thinking about playing tipsy. I was just thinking about playing Minnie being maybe slightly less reserved than she normally would be — or than she would be at work. The only moment in the film that I really felt that I was playing inebriated in some way was the scene with Sean in the bathroom, where Minnie does a line of C-Word's [Michael] cocaine. I've had conversations with a lot of people who were on cocaine, and I found that much easier than playing drunk — because essentially, a person on cocaine is just talking a bit faster and a bit more excitedly and animatedly, but really they just don't give a fuck what you have to say. They just want to hear the sound of themselves talking. And I was like 'yeah, I can do that.' That's a lot easier to act than drunk. Whereas drunk is like — when I see a great drunk performance, I'm really, really, really impressed by it. People think it's impressive when actors cry easily. I'm like 'no anyone can do that'. When someone can play drunk, that's when I'm really — I think that's really incredible. I don't know if I can really do it, to be honest with you." On Browning's Path From Making Her Screen Debut Almost Three Decades Ago in The Echo of Thunder Through to Now "That was my first acting role, and it kind of happened by accident. It was very random. A friend's parents saw me in a school play and knew a casting director, and the casting director was looking for an eight-year-old girl — and it kind of just happened. Before then, I loved movies so much. I loved movies. All I did was watch movies. But I just didn't think — I never made the connection in my mind that that was a job you could do. And then it just happened, and I was like 'cool, I guess this is my job now'. And it meant that I got to be out of school for a few months of the year, and it felt more interesting to me than school did. But I think from the beginning, I was like 'well, this is what I do now, I guess'. And then I remember doing Lemony Snicket when I was 14, and I loved that experience, but it was my first time in LA and it really freaked me out in a way that was like 'I actually don't think this is the life that I want'. I was there, I was in West Hollywood, and I was meeting all these young actors who seemed so — they just seemed to not have any other life outside of making films and it just all felt a bit yuck to me. And so I actually kind of quit for a few years, and didn't start again until after high school. But even that, it's only really in the last few years, since COVID, that I've really felt like I fully committed to wanting to be an actor — which is crazy because I'm in my mid-30s now. But it took me a long time. I was very afraid for a long time. The idea of being famous has always been terrifying to me. I'm only now at the point where I'm like 'okay, I think I know myself well enough and I can let myself accept the fact that I would like to be successful'. I still don't want to be famous. I still have no interest in being — like, I don't want to be in superhero movies, really. But I would like to do this for the rest of my life, and I would like to be able to do really interesting roles. And that means learning how to play the game to some degree, I guess, which feels gross, but I think it's just part of it. I've spent a lot of time leaning in and then pulling back, and hiding from the scarier elements of the industry — or the elements that were scary to me. And now I finally feel like I'm at a place where I'm like 'okay, I want to do this for real', even though I have been doing it for real for a long time. But I finally feel ready for it." On Coming Home for a Project — and One More Shot Being Browning's Australian Film Since 2011's Sleeping Beauty "Honestly, other than my gut, it's the fact that I get to come home. It's a huge drawcard to be able to work at home. And honestly, more and more recently, so much of the most interesting stuff that I've been reading has been Australian stuff. So it's been a really lucky thing — especially during the strike and everything, when a lot of my friends just had to wait it out. And the fact that I was still able to be reading stuff in Australia, I feel really, really lucky for that, that I have this other — it's not a second career, it's all part of the same career, but the fact that I can come home and work is really, really incredible, especially now considering that everything's a bit more global now. With streaming, people see things from all over the world and you can be anywhere. I'm not going to take a job in Australia just because it's in Australia, but if something is in Australia that I already love, it's going to make me even more excited about it. I think One More Shot — and The Fox as well — are both things that I'm incredibly excited about. And they both happen to have been made here, which is really cool. It makes them even more special." One More Shot screens at the 2025 Melbourne International Film Festival — and will stream via Stan later in 2025. MIFF 2025 runs from Thursday, August 7–Sunday, August 24 at a variety of venues around Melbourne; from Friday, August 15–Sunday, August 17 and Friday, August 22–Sunday, August 24 in regional Victoria; and online nationwide from Friday, August 15–Sunday, August 31. For further details, visit the MIFF website. One More Shot images: Ben King/Stan.
These days, I don't let early morning sunshine lull me into a false sense of security. The above average rainfall we've been experiencing is probably due to weather phenomenon La Niña, and I know it's bound to bucket down at some point during the day. Inevitably, my sky-blue umbrella has become my new best friend and I skulk in bookshops to avoid spontaneous downpours. Advertisers in the Netherlands have discovered a way to make the most of a rainy day. Fresh Green Ads creates street campaigns with eco-friendly materials that are revealed with a spot of wet weather. Lasting up to 8 weeks, ads fade away when the puddles disappear. Rain Campaign is a form of Clean Advertising, and according to the company "an environmentally friendly way of advertising on the street. With a template and a high pressure water sprayer the advertising message is cleaned out of the dirt on the street or on a wall. The result is a contrast between the dirty street and the clean message." Sand, crop and water drop campaigns are other forms of Clean Advertising offered by Fresh Green Ads. https://youtube.com/watch?v=ZjruygIIk9k https://youtube.com/watch?v=BLdEoj43nkY [Via PSFK]
If you've ever worked in a restaurant where you've had to throw out the still-good offcuts the kitchen doesn't need at at the end of a shift, worked at a supermarket where expired food has at to be tossed in the bin or simply opened your crisper to find a browned and shrivelled iceberg lettuce that you bought and promptly forgot about last week, you'll know that food wastage is rife basically everywhere. And even if you haven't been privy to all that, know that roughly four million tonnes of food is wasted in Australia each year. That's why food rescue charity OzHarvest exists — each day, they go around to cafes, restaurants, supermarkets, airports and hotels to collect the food they don't want and deliver it to people who need it. OzHarvest has been hugely successful at doing this. Since its creation in 2004, the charity has been instrumental in changing how food waste is handled in Australia. Led by founder Ronni Kahn, the organisation has successfully lobbied state governments to alter legislation to allow potential food donors (that is, the supermarkets, restaurants, etc.) to legally donate surplus food to charitable organisations. And now OzHarvest has taken their operation to the next level, by opening a 'rescued food' supermarket in Sydney. The OzHarvest Market is a physical store for all the rescued food the organisation collects. Rather than being delivered directly to charitable groups, the market makes some of the produce available to members of the public, and particularly those in need. That's because nothing at the market has a set price — it operates on a "take what you need, give if you can" model. "The OzHarvest Market is our latest innovation to tackle food waste and eliminate hunger," said founder Ronni Kahn. "It supports OzHarvest's purpose to nourish our country, by making sure good food does not go to waste and is available to everyone." The market is located on the ground floor of the Addison Hotel, which is currently being used as a refuge for homeless youth while the building owners TOGA await approval for a development. OzHarvest will inhabit the space for as long as it is available. The OzHarvest Market is open Monday to Friday from 10am till 2pm at 147 Anzac Parade, Kensington, Sydney. For more information, visit ozharvest.org/market.
Anyone who has experienced the joys of travelling through South East Asia, and the huge variety of delicious flavours found in hawker markets, will share the excitement of returning to those tastes here in Melbourne upon a visit to Rice Paper Scissors. Fitzroy is the locale for the restaurant's second venue, with the first having been open for a while now in the CBD. It's safe to say that the team has not dropped the ball in the duplicate — the food and atmosphere are just as great as the original. The atmosphere is very relaxed, a welcome difference from the chaos and noise of true hawker markets. For people like us who don't just want one dish, but want all the food, there is cause for celebration. The style here is all about sharing plates and multiple mini meals. The friendly staff will explain how to get to grips, quite literally, with the perfectly presented food — you are encouraged to eat with your hands for most dishes, and a lemon water basin is provided to refresh those sticky fingers between delicious bites. We found the amount of attention given to the menu for those with dietary restrictions exceptional and truly reflects that this team understand the Fitzroy area. The majority of meals can be altered for vegetarians and vegans. Expertly treated tofu replaces the meat component of these dishes in an exceptional way — even your meat-loving companions will adore them. Having said that, those carnivorously inclined will definitely find a lot on the menu to sink their teeth into. Leaving the difficult task of what to pick from the menu in the capable hands of our waiter, we were excited about each new and impressively presented meal to arrive. The crispy coconut cups ($16.50) are filled with caramelised pork with prawn and smoked salmon caviar. The vegetarian adaption is equally as explosive. Yam pla foo — or tapioca-dusted barramundi ($17) — with a green apple and roast cashew salad was a standout dish, full of zesty, fresh flavours matched perfectly with the flawlessly cooked fish. Or there's suckling pug steamed buns ($17) enhanced by pickled cucumber and hoisin sauce. You can order five different dishes for $45 per person, which is easily enough to fill two hungry bellies. If you're after something with a little kick, then look no further than the Thai influenced cocktails. The Rice Paper Spritzer ($19) is made with plum wine, gin, rose syrup and prosecco, and an interesting version of an espresso martini ($17) using condensed milk is available for those with a sweet tooth. Our pick for a refreshing summer drink over some spicy food would be the Lemongrass Tom Collins ($22): lemongrass infused gin with cucumber and sparkling soda. If you can't make it to Fitzroy, Rice Paper Scissors also has a second location in the city, at 15 Hardware Lane, Melbourne. Updated Monday, April 11 Appears in: The Best Vegan Restaurants in Melbourne for 2023
UPDATE: SEPTEMBER 16, 2020 — While this 400-person bar is closed, you can still pick up its easy-drinking draught and New England IPA from the onsite Froff Shop. Plus, on the weekend, there are takeaway tacos. Check out all the deets, over on the Instagram. If local beer label Bodriggy wasn't already on your radar, it sure will be now. Owners Jon Costello, Anthony Daniels and Peter Walsh have officially opened their mammoth Abbotsford brewpub. The sprawling warehouse space and one-time mechanics workshop has been home to Bodriggy's brewing operations for a while, but now also boasts a bar, pub and kitchen — with room for an impressive 400 punters. A striking fit-out has been headed up by builder, designer and co-owner Daniels, transforming the lofty building with a mix of reclaimed materials, natural finishes and considered industrial elements. Vintage-style timber panelling is offset by painted brickwork and exposed pipes, while big steel trusses curve overhead. You'll spy lamps recovered from the Palais Theatre, as well as a couple of vintage MCG balustrades, here edging the stairs down to the underground bathrooms. The brewery tanks loom large and shiny at the back of the room, while the front section is home to a dining room, complete with warm timber and plush green booth seating. But if you're impressed with the size of the pub itself, just wait until you get a look at the drinks offering. Bodriggy's beer is front and centre, of course, the light box menu above the bar sporting plenty of just-launched creations in celebration of the new digs. Mainstays include the likes of the Speccy Juice session IPA, the easy-drinking draught, or the newly-hatched New England IPA they've dubbed Cosmic Microwave. There's a handful of seasonal offerings, too – think, wine-beer hybrid Zooter Doozy. Or you can skip the decision making altogether, grab a tasting paddle and settle in for a sampling session. That said, the Bodriggy taps aren't solely for things fizzy and hopped — they're also pouring wild and natural wines from the likes of Quealy, Little Reddie and Garage Project, and a lineup of cocktails heroing native ingredients and South American flavours. Expect concoctions like the El Coco, blending coconut-washed Buffalo Trace bourbon with bitters and agave and the vermouth- and cherry-infused Cascara Spritz. More South American flavours feature throughout the food menu, which is crafted by Chef John Dominguez (Vue de Monde, Dinner by Heston) and working a huge offering of vegan and gluten-free options. You'll find Peruvian-style beef heart skewers, tacos loaded with achiote-marinated slow-cooked pork, and 'petacon' or fried plantains featuring a daily changing topping. Larger plates might include the likes of a beef short rib matched with bone marrow or a hefty 500-gram cauliflower steak starring chimichurri and crispy florets. Otherwise, go straight for the $55 feed me menu. But wait, there's more: Bodriggy is also set to open a boutique bottle shop at the front of the site and a private dining room upstairs – stay tuned for details. Images: Kate Shanasy
Upstate has taken Melbourne and surrounds by storm, with its trademark high-energy fitness studios now spanning 13 locations with the recent launch of its Elsternwick studio. Now the brand is looking north to the Gold Coast, opening its first-ever interstate studio in Palm Beach. For those living in Goldy, expect the same vibrant design, feel-good vibes and fitness-focused sessions that have made Upstate such a hit down south. Situated just steps from the sand and surrounded by a host of top-notch cafes, the brand-new Palm Beach studio is headlined by Upstate's biggest reformer studio yet, featuring 29 beds primed for huge group workouts set to burst with upbeat energy. Speaking of workouts, Upstate is bringing its signature 45-minute full-body sessions to GC, offering a choice of Power, Burn or Strength classes, where you're invited to focus on your strength, endurance and mindset. "We're so pumped to bring the Upstate vibe to the Gold Coast," says Upstate Co-Founder and Co-CEO, Gail Asbell. "Palm Beach has the perfect energy for us — laidback yet vibrant. We can't wait to share our high-energy workouts and create a buzzing community here. This studio is a huge milestone for us, and we couldn't think of a better place to make our first Queensland debut." Launching in the heart of Palm Beach, just off the Gold Coast Highway, this outpost's radiant design reflects the bright and positive attitude synonymous with its studios. Immersed by the brand's iconic bursts of yellow, neon lights and steel finishes, it's basically made for setting up shop on the sun-soaked Gold Coast. "This year is a really exciting one for Upstate," continues Asbell. "We've launched our own Pilates Instructor Training program, introduced our first interstate retreat, and added Greece to our list of international retreat destinations for 2025. We're proud to be growing in ways that genuinely support our community, while working alongside incredible brand partners to create experiences that uplift and inspire." Upstate Palm Beach is expected to open soon at 4/1172 Gold Coast Highway, Palm Beach. Head to the website for more information.
Among the many gifts that 80s cinema gave the world, Glenn Close's (Tehran) turn as a bunny-boiling jilted lover in Fatal Attraction is one of them. There's committed performances and then there's her Oscar-nominated effort as Alex Forrest, the book editor who embarks upon an affair with Michael Douglas' (Ant-Man and the Wasp: Quantumania) married Manhattan lawyer Dan Gallagher, then doesn't appreciate being seen as a mere fling. How does another version of Fatal Attraction follow that up? Why would one bother? How can the film's erotic-thriller storyline leap to TV, find a way forward decades beyond the genre's heyday, and update its plot and long-outdated sexual politics to today? Streaming from Monday, May 1, Paramount+'s eight-part series endeavours to answer those questions — engagingly and intriguingly, and with an excellent cast. There's an air of inevitability to the new Fatal Attraction before its first episode even begins; in this peak time for turning movie classics into television shows, of course the rabbit-stewing hit is getting that treatment. From A League of Their Own and Interview with the Vampire to Dead Ringers and American Gigolo, streaming platforms can't stop remaking the past, a trend that also sees a Cruel Intentions show in the works, plus Harry Potter and Twilight series. Fatal Attraction circa 2023 doesn't just jump on that bandwagon. In finding a way to flesh out the OG film's 119-minute narrative to almost eight hours and give itself a point of difference, it's also a murder-mystery. That's a calculating but involving move, steeping the show in another current favourite approach — see: fellow recent whodunnits Poker Face, Bad Sisters, The Afterparty, The Undoing and The Flight Attendant — and putting far more than a scorned woman in focus. Brought to the small screen by Alexandra Cunningham (Physical) and Kevin J Hynes (The Offer), with the feature's screenwriter James Dearden (Christmas Survival) co-penning several episodes — the 1987 script adapted his own 1979 short Diversion, too — the latest Fatal Attraction starts with its adulterous lawyer in prison. Formerly an assistant Los Angeles district attorney and head of major crimes on the way to a judgeship, this Dan (Joshua Jackson, Dr Death) has spent 15 years in incarceration. Petitioning for his freedom, he tells the parole board that he's thought about Alex Forrest's (Lizzy Caplan, Fleishman Is in Trouble) death every day across that decade and a half. But there's another side to his words — because, once out, he's back to protesting his innocence. More than that, he's determined to track down the killer, with help from his ex-colleague and ex-detective Mike Gerard (Toby Huss, Weird: The Al Yankovic Story). Listening in on that hearing is college student Ellen (Alyssa Jirrels, Saved by the Bell), Dan's now-grown daughter, who hasn't had any contact with her father at his request during his time inside. In Fatal Attraction's present-day thread, she's handily a psychology student specialising in Carl Jung and his collaborator Toni Wolff, and calls her mother Beth's (Amanda Peet, Brockmire) second husband Arthur (Brian Goodman, I Know This Much Is True) dad. Dan wants to reconnect, a quest that unfurls in parallel to his search for the truth, as well as the show's flashbacks to the late 00s. In the latter, he's reaching 40 and flying high until his move behind the bench doesn't pan out, which coincides with new LA arrival Alex crossing his professional path as a victim's advocate. It's telling that Cunningham also has Dirty John on her resume, while Hynes has the new TV version of Perry Mason; combine the first's romance-gone-murderous stories with the second's legal dramas and that's where their spin on Fatal Attraction largely lands. In the process, there's noticeably little eroticism beyond a tumble or two in Alex's window-filled loft, but there is a vital look at the narrative from more than just Dan's viewpoint. His privilege is called out — he's the son of a judge, even making him a nepo baby — as the show also steps through his liaison with Alex from her perspective, and then from Beth's. There's no doubting that revisiting the same events through multiple characters' eyes helps fill the series' running time; however, it also helps reinforce that all tales are shaped by whoever is telling them. Indeed, when Fatal Attraction dives into Alex's history, including the lifetime of terrible treatment from her always-philandering dad and lack of affection from her mum, it puts her mental health in the spotlight, plus her thoughts, feelings and motivations. This iteration is never just about a man who strays from his nuptials and ends up with unwanted attention, prison time and his life upended, but equally about how Alex's time with Dan appears to her, and why. Playing out across both of the series' periods, Fatal Attraction is similarly concerned with how the past forever shapes our futures, a notion it unpacks in layers. That said, it also throws in a ridiculous and questionable late development to underscore that line of thinking, which blatantly and needlessly tries to set up a second season. When the show isn't making wild swerves and delivering cliffhanger twists, it benefits from having Caplan and Jackson at its centre. Sliding into Close and Douglas' shoes is no simple task, so neither attempts to imitate their predecessors, instead capitalising upon their own patent chemistry and respective strengths as performers. Caplan has always excelled at exuding intelligence and vulnerability in tandem — amid acerbic quips, it's what helped make her part in Party Down such a gem — and Jackson has been making charming but flawed his niche since Dawson's Creek, then Fringe, then The Affair. He can't sell being 55 in Fatal Attraction's later timeline, though, and visibly isn't treated well in the hair department. The series' smart casting extends to perennial scene-stealer Huss, who could turn Mike into another show's slippery lead; the ever-reliable Peet, who is never asked to play Beth as just the betrayed spouse; and Jirrels, including while saddled with talking through much of Fatal Attraction's psychological musings. With perspective such a key part of this retelling, strong supporting performances couldn't be more essential. In fact, that too is a crucial reason that returning to this tale proves impossible to ignore, like Alex: it's still a portrait of obsession, but it spies more than just one type of fixation and one basis for it. Check out the trailer for Fatal Attraction below: Fatal Attraction streams via Paramount+ from Monday, May 1. Images: Monty Brinton / Michael Moriati, Paramount+.
The Esplanade Hotel Queenscliff has officially reopened with a fresh feel, a reimagined look, and a new name, following a major renovation. The venue embodies the true character of a coastal pub with warm timber decor and an inviting atmosphere for locals, visitors, families and kids. The pub, previously called the Queenscliff Brewhouse, was established in 1879, and has been an integral part of the Queenscliff community ever since. As part of this community engagement, the team spent time with locals to understand what they considered important about the venue. Turns out that locals felt strongly about the original name being reinstated, so what was going to be dubbed The Bellarine Hotel, became The Esplanade Hotel Queenscliff, once again. This is just a small example of how the pub pays respect to the community and its history. ''We are so excited to have reopened the doors of this beautiful pub," says venue manager Mitch Kovacic, "Our local legend has gotten a new lease on life, and we know our locals will love it — the buzz in the area has been awesome in the lead up to today." The extensive transformation included a revamp of the beer garden — with native landscaping, picnic-style tables and umbrellas — and of the kids' play area, making the pub even more family-friendly than it was before. Of course, the sports bar with TV screen-lined walls, a pool table and a fireplace is the ultimate spot to catch all the rowdy game-day action. The seasonal menu showcases fresh produce and pub classics. There's a chicken (or eggplant) parma, classic cheeseburger (or a plant-based version), schnitzels, fish and chips, steak with Diane sauce and seafood pasta. There are also harissa lamb skewers, crab and corn croquettes, spring gnocchi and tomato salad with peach and pickled onions. Check out the considerate kids' and seniors' menus too. To celebrate the reopening of the beloved pub, The Esplanade Hotel Queenscliff will play host to Locals Weekend, from Friday, tenth, to Sunday, October 12. The huge weekend kicks off with a free first drink, followed by live music, charity raffles, giveaways and kids' entertainment. Images: Supplied.
This is not a travel guide. This is a local's map of Sydney. These are the five places where Sydney Underground Film Festival co-director Katherine Berger goes to recaffeinate, play, rummage, work and party. SUFF is on Thursday to Sunday this week. Since 2007, the festival has been dedicated to fostering a truly alternative and experimental film culture in Sydney. In the past, it has premiered Oliver Stone's South of the Border, revisited cult classics like Red, White and Blue, and given a platform to emerging filmmakers working out on a limb. Check out our preview or buy tickets online. And keep an eye out for Katherine's upcoming lo-fi mockumentary Zombie Massacre III. 1.BEST URBAN PARKLAND: SUFF OFFICE/CALLAN PARK, ROZELLE SUFF finally moved from working out of a lounge room into a nice big office at Sydney College of the Arts (a wonderful form of sponsorship!). It's complete with retro bar bought on eBay for $30! I also love that that the college sits within Callan Park, Rozelle; where there are so many interesting nooks and crannies to discover – hidden gardens, a bamboo forest, water views, decrepit old buildings and even an informal cat sanctuary! 2. BEST NEPALESE FOOD: EVEREST KITCHEN, MARRICKVILLE Just off Marrickville Road on Victoria Road is Everest Kitchen, one of my favourite restaurants. I love the food here and always kick off with the vego traditional entree set. I could eat the soy bean salad and dumplings with beaten rice all day! 3.BEST OP-SHOPPING ADVENTURES: ANGLICARE, SUMMER HILL My Saturday morning ritual is first coffee then getting to the Anglicare Charity Store Depot on Carlton Crescent in Summer Hill by 9am. It's hilarious watching the eager shoppers inch forward and then basically run when they open the doors! Here you can buy second-hand clothes by the kilo ($8) and all shoes are $5. I strongly believe in op-shopping and rarely ever buy new clothes (could be my lack of budget also!) but I do believe we are a culture of over-consumption. Mind you, I probably over-consume in vintage shopping! 4.BEST COFFEE IN THE VILLAGE:THE DRUGSTORE, SUMMER HILL I live in Summer Hill, which I think is a great little suburb or village as it’s referred to. However, what blows my mind that in an area of basically two streets there is now ten cafes! I just imagine what if one day there was no more coffee beans? But I have to say the latest café to open, The Drugstore, is pretty cool. It's decked out all retro with neon lights, quality coffe and top-notch baristas. (PS. Plus it's right next door to Vinnies!) 5.BEST LOCAL VENUE:THE FACTORY THEATRE, MARRICKVILLE The Factory Theatre has been home of the Sydney Underground Film Festival since its inception 6 years ago. This venue suits the festival for its location in a somewhat of an industrial area (it used to be a printing factory), plus they have always allowed us to show some weird, messed up, crazy, and sometime quite risqué films - so they are pretty cool in our book.
After a few wines, fun can get messy. Without any alcohol at all, life always is. Since arriving on Netflix in 2019, grief-fuelled black comedy Dead to Me has always understood this. Just as crucially, it has always appreciated how the chaos that being alive brings is far easier to handle with a true friend by your side. Its key pair: Christina Applegate (Bad Moms 2) and Linda Cardellini (Hawkeye) as Jen Harding and Judy Hale, who started the show as strangers linked by tragedy, and by lies about exactly how deep that connection goes. With Dead to Me finishing with the just-dropped season three, the duo ends the series having changed each other in ways that neither could've initially imagined. Hit and runs, murders, duplicitous connections, secret twins, police investigations, shallow graves, money laundering, incriminating surveillance footage, big coverups: these aren't regular occurrences for most of us. But dealing with life, love, death, loss and disappointment is, and struggling to know how you want to spend your days — and who to spend them with. To navigate all of this, the only-on-TV and the everyday alike, Dead to Me bundles its leads together to help them cope. Sometimes, that involves big glasses of vino. Too often perhaps, leaning on a stereotype. Still, the fact that Jen and Judy need each other, and are better because they know each other, remains as heartfelt as Dead to Me's pile of twists proves tumultuous. When Dead to Me began with heavy A Simple Favour vibes, it was with Laguna Beach real-estate agent Jen left widowed with two kids (Condor's Sam McCarthy and IT: Chapter Two's Luke Roessler), and furious about it, after her husband Ted was killed in an accident. Aged-care nurse Judy comes into her orbit at her grief support group, telling a tale about similarly mourning after the death of her fiancé Steve Wood (James Marsden, Sonic the Hedgehog 2); however, her story is just a ruse to get close to Jen. The chalk-and-cheese women still find comfort in each other's company, with the free-spirited Judy countering Jen's acerbic, acidic, angry demeanour. Then, the revelations start flowing — and the more that their friendship is tested, the more the pair gravitate towards each other. When Dead to Me's ten-episode first season came to an end, it was with secrets being exposed and a growing body count. In season two, which dropped another ten episodes in 2020, Jen and Judy worked through the fallout, and the reality of having Steve's kinder, cornier twin brother Ben (also Marsden) around. This is a show about cycles and circles, so when its second outing finished, it was with another hit and run, this time with Jen and Judy as its victims. That's where season three's ten episodes pick up, with the two women in hospital weathering yet another aftermath to a significant event with yet another round of life-changing consequences. Hanging out with Jen and Judy as they endure several soap operas worth of turmoil — and just as many big life events, complete with romances, kids and health woes — has been one of Dead to Me's drawcards from the get-go. Creator and writer Liz Feldman (2 Broke Girls) perfected the show's lead casting, so much so that even simply putting Applegate and Cardellini together with a bottle of wine has always sparked compelling, touching, insightful and hilarious moments. That's hardly surprising given both actors' prior resumes, and their screen presence. In her first lead TV role since 2011–12 sitcom Up All Night, Married with Children and Don't Tell Mom the Babysitter's Dead alum Applegate plays world-weary and just weary with relatable force, while ex-Freaks and Geeks, Scooby Doo, Mad Men and Bloodline star Cardellini knows how to give the positive-thinking Judy both weight and heart. Applegate and Cardellini have deserved their past Emmy nominations — two for the former, one for the latter — and they're each as adept at balancing Dead to Me's dark comedy and rampant dramas in season three. There's a greater sense of what the bond between the show's protagonists truly means this time, though, befitting its final go-around. As even more hardship, heartbreak and law enforcement officers are thrown at its central pair, the series also sees them lean on each other as a constant when little else earns that description. That said, because everything changes including our dearest relationships, it contemplates what Jen and Judy can always draw on from each other even if they're not perennially side by side. Finding solace in complicated bonds, the strength to confront life's challenges, and the savviness to know when to appreciate the small wins and big delights: that's Dead to Me season three's arc. It's the series' in general, and was long before it was announced that it would finish after a third and final run. In fact, that's why all the trauma and twists have worked, reflecting the truth that anything and everything can happen to us all every day, so all that we can do is work out how to soldier on. Of course, now that Dead to Me is bringing its odd-couple tale to a conclusion — a fitting one, that keeps recognising the gifts, shocks, joys and sorrows that greet everyone — farewells and heightened feelings frequently go hand in hand. Accordingly, unexpected diagnoses, meddling cops (returnees Diana Maria Riva, Kajillionaire, and Brandon Scott, Goliath), sleuthing federal agents (series newcomer Garrett Dillahunt, Where the Crawdads Sing), old flames (Natalie Morales, The Little Things) and frustrating neighbours (Suzy Nakamura, Avenue 5) all pop up. So do creepy rooms filled with twin dolls, plus outlaw names: Bitch Cassidy and Judy Five Fingers (who chooses which is obvious). Yes, Dead to Me goes all in on as many more plot swings as it can fit in as it rides off into the sunset. In the process, the show's swansong evokes as many emotions as it can, too. Amid the twists and laughs in tandem, however — and all the murders, mysteries and other doses of mayhem along the way — this show has always been able to make its feelings stick, just like its against-the-odds core friendship. Check out the full trailer for Dead to Me's third season below: Dead to Me's third season is available to stream via Netflix. Images: Saeed Adyani / Netflix.
While making a good first impression when you finally meet the parents isn't always easy, finding somewhere perfect to share a meal for the first time should be a breeze — Melbourne has an abundance of great dinner spots that'll set the tone and have you in their good books in no time. From world-class fine dining to contemporary gastropubs and casual eateries that still pack a punch, there's bound to be somewhere in Melbourne that suits whatever taste or table you're after. To make discovering these joints even easier, we've enlisted the help of American Express to create what we're calling The Shortlist. To do so, we've done a deep-dive on our directory and come up with a selection of the best dining spots that aren't too loud, show you're a respectable candidate for the love of their child and also accept your Amex. Now, worry less about where you're taking the 'rents, and start preparing your responses to those landmine questions. You know they're coming. Got yourself in another dining situation and need some guidance? Whatever it is, we know a place. Visit The Shortlist and we'll sort you out.
Fitzroy North's Horn Please has a surefire way to cure your Sunday hangover: all-you-can-eat curry. But, it's not just curry. It's six different vegan curries, plus rice and a couple of starters. And you can dispel any worries you've got about spending too much cash — all of this will only cost you $30. It's not just a great deal for those with day-after regrets, either. Can't be bothered cooking? Want a cheap date night? Have a vegan mate to entertain? Tick, tick, tick. [caption id="attachment_775009" align="alignnone" width="1920"] Peter Tarasiuk[/caption] The all-you-can-eat deal is available across three 90-minute sittings every Sunday — 5pm, 6.30pm and 8pm. You'll kick things off with two entrees — maybe some cauliflower and spinach fritters — before digging into unlimited serves of curry. The lineup's set to vary, though you can bank on Horn Please favourites like chana masala and butternut squash curry, alongside newcomers like aloo gobi with cauliflower and potatoes. And as always, you can pair that food with wine, signature cocktails or brews from the legendary Horn Please beer fridge. You'll need to make a booking if you want to head along, so head over to the website quick smart. If you're choosing to go out and support local businesses, have a look at the latest COVID-19 advice and social-distancing guidelines from the Department of Health.
Australia's most prestigious portrait award is around the corner, and its finalists have just been announced. Every year, speculation about who will be awarded the coveted prize and, more often than not, the Archibald winner itself, causes much-heated debate. From 2018's five-time Archibald finalist Yvette Coppersmith's first win to Tony Costa's win with his painting of fellow artist Lindy Lee — the first portrait of an Asian Australian to pick up the prize — it's hard a win to pick. All that's really assured is that it'll be a portrait of a person by an Australian. Held at the Art Gallery of NSW every year, the Archibald runs in conjunction with the Wynne and Sulman Prizes — recognising the best landscape painting of Australian scenery, or figure sculpture and the best subject painting, genre painting or mural project, respectively. This year, because of a certain pandemic, the Archibald was postponed and is running from September 2020 to January 2021. As usual, it's sure to be popular, but instead of pushing through crowds to see the prized portraits, you'll have a bit of space thanks to reduced capacities and timed tickets. And you'll have some exceptional artworks to feast your eyes upon, too. Famed Sydney street artist Scott Marsh's portrait of musician Adam Briggs has made the cut, as have a haunting painting of comedian Magda Szubanski and a Star Trek-esque oil work of NSW Minister for Environment and Energy Matt Kean. Wongutha-Yamatji artist Meyne Wyatt has also taken out the coveted 2020 Archibald Packing Room Prize, chosen by the packing room team, becoming the first Indigenous Australian to win any Archibald award in the competition's 99-year history. As there are so many outstanding portraits this year (as there are every year), it's impossible to know which of the 55 is going to take home the $100,000 prize. Regardless, here are some of our favourites — and some we think may have a good chance of winning. [caption id="attachment_783644" align="alignnone" width="1920"] Meyne Wyatt, 'Meyne', copyright the artist. Photo: AGNSW, Mim Stirling[/caption] MEYNE WYATT — MEYNE Actor and artist Meyne Wyatt became the first Indigenous Australian in Archibald history to win any of the competition's awards when he won the 2020 Archibald Packing Room Prize. The history-making self-portrait is a realistic acrylic painting and, in fact, Wyatt's first painting in over ten years. The Wongutha-Yamatji man and first-time Archibald entrant has no formal art training, but gets some handy tips from his mum Sue Wyatt who was herself an Archibald finalist in 2003. If the portrait above, and Wyatt's signature raised eyebrow, look familiar, it's likely you've seen him in the likes of The Sapphires, Redfern Now and Neighbours. [caption id="attachment_783639" align="alignnone" width="1920"] Scott Marsh, 'Salute of gentle frustration'. Copyright the artist. Photo: AGNSW, Felicity Jenkins[/caption] SCOTT MARSH — SALUTE OF GENTLE FRUSTRATION Artist Scott Marsh's portraits aren't a rare site on the streets of Sydney (see: Egg Boy, Mike Baird and Kanye Loves Kanye) but they are a rare site on the walls of the AGNSW. The first-time finalist has joined the ranks of the country's art elite with his seventh submission to the Archibald Prize: a portrait of Indigenous Australian rapper Adam Briggs. The portrait is entitled Salute of gentle frustration, which Marsh says references "the deep fatigue of generations of Aboriginal people demanding equality against a backdrop of political rhetoric and inaction". [caption id="attachment_783691" align="alignnone" width="1920"] Kaylene Whiskey, 'Dolly visits Indulkana'. Copyright the artist. Photo: AGNSW, Mim Stirling.[/caption] KAYLENE WHISKEY — DOLLY VISITS INDULKANA Self-taught artist Kaylene Whiskey listens to the music of famed American singer-songwriter Dolly Parton while she paints. It's an effective technique, it seems, with Whiskey already cleaned up the Sulman Prize in 2018 and the Telstra National Aboriginal and Torres Strait Islander Art Award for general painting in 2019. Now, Whiskey is one of 55 finalists selected for the Archibald Prize with a self-portrait in which Dolly visits her home in the Aṉangu Pitjantjatjara Yankunytjatjara (APY) Lands. In the painting, Dolly holds a bejewelled guitar and the pair is surrounded by clocks, cameras, superwomen, galahs and a flying nun. [caption id="attachment_783632" align="alignnone" width="1920"] Angus McDonald, 'Behrouz Boochani'. Copyright the artist. Photo: AGNSW, Mim Stirling.[/caption] ANGUS MCDONALD — BEHROUZ BOOCHANI This year, after more than six years in an Australian offshore detention centre, celebrated Kurdish Iranian writer Behrouz Boochani was granted asylum in New Zealand. Sydney artist Angus McDonald first made contact with Boochani when he was making a documentary, called Manus, about the Manus Island detention centre, but was not allowed onto the island to meet him. So, when Boochani landed in NZ, McDonald decided to fly there and paint him instead. The oil portrait sees Boochani looking directly at the viewer, which McDonald says portrays Boochani as a "a strong, confident and peaceful man who survived a brutal ordeal and is now free". [caption id="attachment_783692" align="alignnone" width="1920"] Yuri Shimmyo, 'Carnation, lily, Yuri, rose'. Copyright the artist. Photo: AGNSW, Mim Stirling.[/caption] YURI SHIMMYO — CARNATION, LILY, YURI, ROSE Japan-born, Sydney-based artist Yuri Shimmyo's inspiration for her self-portrait came from a 19th-century painting by John Singer Sargent called Carnation, lily, lily, rose. While Sargent's painting features two girls playing in a garden, Shimmyo's features herself — Yuri means 'lily' in Japanese — covered in lilies, surrounded by a wallpaper of roses. As for the carnations, if you look to the left of the oil portrait, you'll red-and-blue tins of Carnation milk. The winning portraits and finalists will be on display at Sydney's Art Gallery of NSW from Saturday, September 26 to Sunday, January 10. If you do't agree with the judges, you can cast your own vote for People's Choice before Sunday, December 13. ARCHIBALD PRIZE 2020 DATES Art Gallery of NSW, Sydney — September 26–January 10 Tweed Regional Gallery & Margaret Olley Art Centre, NSW — January 22–March 7 Cairns Art Gallery, Qld — March 19–May 2 Griffith Regional Art Galley, NSW — May 14–June 27 Broken Hill Regional Art Galley, NSW — July 9–August 22 Shoalhaven Regional Gallery, NSW — September 3–October 17 Penrith Regional Gallery, NSW — October 29–December 5 If you can't make it to any of the above dates, you can check out the award winners and finalists of the Archibald, Wynne and Sulman Prizes on the Art Gallery of NSW website.
Comings and goings are part of every soap opera, especially any series that's notched up decade after decade on the small screen. With Neighbours marking its 40th anniversary in 2025, plenty of faces have arrived and departed the show since 1985. Now the Aussie staple itself is saying farewell — again. The long-running series initially wrapped up in 2022, then was resurrected by Amazon in 2023, but has now been cancelled for a second time. "We are sad to announce that Neighbours will be resting from December 2025. New episodes from the 40th-anniversary season will continue to air on Prime Video and Ten four times a week until the end of the year, with all the big soapie twists and turns that our viewers love," announced the team behind the series on social media. "Audiences all around the world have loved and embraced Neighbours for four decades and we are very proud of the huge success over the last two years, including often appearing as one of the Top 10 titles in the UK and the show's first ever Daytime Emmy nomination for Outstanding Daytime Series in 2024. As this chapter closes, we appreciate and thank Amazon MGM Studios for all that they have done for Neighbours — bringing this iconic and much-loved series to new audiences globally," said Neighbours Executive Producer Jason Herbison. "We value how much the fans love Neighbours and we believe there are more stories of the residents of Ramsay Street to tell in the future." Herbison's statement leaves the door open for a continuation, if another TV network or streaming platform were to decide that everybody needs more Neighbours. When the show first said goodbye in 2022 — when it was originally cancelled after being dropped by its UK network, Channel 5, leaving local backer Network Ten without enough funding to continue the series — it did so with help from some of its big-name past stars. Kylie Minogue, Jason Donovan, Barbie star Margot Robbie and The Brutalist Oscar-nominee Guy Pearce all returned for its initial sendoff, before the series made a comeback in 2023. Since its mid-80s debut, Neighbours has aired more than 9000 episodes, all charting the lives of characters either living in or connected to the show's cul-de-sac in the fictitious Melbourne suburb of Erinsborough. As well as Minogue, Donovan and Pearce, 80s-era Neighbours boasted a four-episode stint from Russell Crowe (Kraven the Hunter). In the 90s, Natalie Imbruglia got her start there. Liam Hemsworth (Lonely Planet) was a regular in the 00s, as was Robbie, and Chris Hemsworth (Furiosa: A Mad Max Saga) popped up in one 2002 episode before moving over to rival Aussie soap Home and Away. Also just as sizeable: the show's four decades of twists, amnesia spells, shock returns from the dead, and Ramsay and Robinson family dramas. Neighbours will continue to air until December 2025 via Network Ten and Prime Video in Australia, Prime Video in New Zealand, and Amazon Freevee in the UK and US — then say farewell. Images: Fremantle / Prime Video.
For nearly a decade, Thornbury Picture House has been more than just a place to watch films, serving as a gathering spot and a creative hub for Melbourne's northern suburbs. Now, co-owners Gus and Lou Berger are bringing that same sense of community to Brunswick, with the opening of Brunswick Picture House on Sydney Road this November. "We've been living in Brunswick for ten years," Gus says. "With that comes a kind of understanding of the area, its independence, diversity, and vibrancy. I want our programming to reflect that." For Berger, cinemas are as essential to a neighbourhood as libraries, record shops, and cafés. "Every community deserves to have a cinema nearby," he says. "It completes the community." At the Thornbury Picture House, Berger and his wife, Lou, set out to do something different from the multiplex model. A place where people could gather, chat, and share a film rather than just watch one. "We never wanted to be a typical cinema," Gus explains. "We've always seen ourselves as more of a community hang-out." That approach will carry over to Brunswick, with the same emphasis on accessibility and collaboration. Local filmmakers will be encouraged to host screenings, premieres, and cast-and-crew events at affordable rates. "As a filmmaker myself, I understand how much love and effort go into making a movie," Gus says. "It's a privilege to be the place where those films are first shown to friends, family, and collaborators." Beyond film screenings, the team plans to keep their doors open for community events and fundraisers. "It feels good to give back to the community that's supporting you," Gus adds. While many cinemas chase the latest blockbusters, Berger's philosophy is rooted in connection. "There's something special about everyone coming to see the same film together, hanging out afterwards, talking about it," he says. "That shared experience, that's what we're trying to create." That communal feeling often extends beyond the screen. Expect to see DJs or live bands performing before select screenings, themed nights, and their signature mini-festivals, as well as from the Northern Lights Film Festival, which celebrates local short films and music videos, to Beats Working, a showcase of the year's best music documentaries. "We love curating nights that feel like an event, more than just watching a movie," Gus says. Gus's passion for film heritage is undeniable. A filmmaker himself (his documentary The Lost City of Melbourne explored the city's vanished cinemas), he's committed to keeping film history alive — quite literally — through 35mm projection. "There's something about seeing a film on 35mm that feels alive and real," he says. "You can see the grain, the texture, it's imperfect in a beautiful way." The Brunswick venue will feature a 35mm projector, a rare treat for cinephiles in the northern suburbs. "We can't wait to bring that experience back." Berger believes cinemas hold deep emotional resonance for people. "Everyone remembers the cinema of their childhood, where they went on their first date, or where they escaped during hard times," he says. "Cinemas are woven into the stories of our lives." Brunswick Picture House will carry the same design as its Thornbury counterpart, part retro charm, part arthouse edge. The Bergers are bringing along their personal collection of vintage film gear, including old cameras and poster art, to decorate the space. "Framing those prints and old photographs has been such a joy," Gus says. "It's a way of honouring cinema's past while creating something fresh." Visitors can expect a warm, welcoming atmosphere and a beautiful timber bar for that pre- or post-film drink. "We want people to walk in and feel like they're in a special place, one that loves cinema as much as they do," Gus says. "After months of dealing with builders, I can't wait to get back to the fun part, creating experiences that bring people together." Brunswick Picture House opens in late November on Sydney Road. Stay tuned for programming updates and special events. Images: Supplied
When the Melbourne International Film Festival kicked off its 2020 event on August 6, and did so with Kelly Reichardt's sublime First Cow, it really didn't matter that it wasn't all happening in person. We'd all rather be getting our three-week-long winter film fix in person, of course — crowding into cinemas, standing in snaking lines on Russell Street, making the mad dash along Swanston Street and braving Melbourne's frosty weather, as has been the case every other year — but a great movie remains a great movie whether it's opening a festival physically as we're all used to, or virtually as these COVID-19 times dictate. In MIFF's case, it doesn't just have one stellar film on its 2020 bill. MIFF 68 1/2, as this year's fest has been badged, really did start as it intends to continue. Until Sunday, August 23, at-home movie buffs can watch their way through more than 100 titles, including full-length fare and shorts, from the comfort of their couches — and from the fest's jam-packed features lineup, we've reviewed (and heartily recommend) these ten absolute highlights. https://www.youtube.com/watch?v=a_D5D7HayMc&feature=emb_logo EMA A new film by Pablo Larraín is always cause for excitement, and Ema is no different. In fact, it's a stunning piece of cinema that stands out even among the Chilean director's already impressive resume. He's the filmmaker behind stirring political drama No, exacting religious interrogation The Club, poetic biopic Neruda and the astonishing, Natalie Portman-starring Jackie — to name just a few of his movies — so that's no minor feat. This time, he hones in on the dancer (Mariana Di Girolamo) who gives the feature its name. After adopting a child with her choreographer partner Gastón (Gael García Bernal), something other than domestic bliss followed, and now she's not only trying but struggling to cope in the aftermath. Di Girolamo is magnetic, whether she's dancing against a vivid backdrop, staring pensively at the camera or being soaked in neon light, and Larraín's skill as both a visual- and emotion-driven filmmaker is never in doubt. Indeed, this film's imagery — and its exploration of trauma, shock and their impact — aren't easily forgotten. https://www.youtube.com/watch?v=HiFEgrIRp7s&feature=emb_logo ROSE PLAYS JULIE In Rose Plays Julie, a young Irish veterinary student born with the name Julie, adopted out to a new family as a baby and then given the moniker Rose (Vikings' Ann Skelly) begins a search for her birth mother (Orla Brady) — and then her biological father (Game of Thrones' Aidan Gillen), too. Don't go dismissing this potent, purposefully thorny and provocative film as a standard family drama, though, no matter how straightforward that description sounds. In a movie that plunges into disturbing thriller territory and seethes with tension from the outset, writer/directors Christine Molloy and Joe Lawler have something very different and far more complex in mind. As brought to the screen with taut, precise visuals, a slow-burn pace and a layered performance by Skelly, Rose's foray into her past unearths a shatteringly tragic incident that could forever change the young woman's sense of self. https://www.youtube.com/watch?v=aGscwJZ5rFA NO HARD FEELINGS Winning the Teddy Award at this year's Berlinale — the prize for the festival's standout film with LGBTQIA+ themes, as previously given to the likes of A Fantastic Woman and The Kids Are All Right— No Hard Feelings is the work of a certain rising star. It's writer/director Faraz Shariat's first film, it's partly based on its own experiences, and it deeply, thoughtfully, engagingly and vividly interrogates and explores the life of a queer man of Iranian descent who has spent his entire life in Germany. Parvis (Benny Radjaipour) was born and raised in Europe, and he's out and proud. Dancing and drinking the night away ranks among his favourite pastimes, alongside passionate Grindr hookups. But when he's sentenced to community service at a refugee centre after a stint of shoplifting, then befriends fellow Iranian Banafshe Arezu (Banafshe Hourmazdi) and sparks up a romance with her brother Amon (Eidin Jalali), the way he's seen by his adopted homeland — and the treatment afforded asylum seekers and anyone considered different — is firmly thrust into focus. https://www.youtube.com/watch?v=nN-mYRcJaf0&feature=emb_logo LAST AND FIRST MEN At present, every movie filled with everyday folks amassing in public, or even just hugging or shaking hands, feels more than a little like science fiction. We've said it before, and we're sure we'll say it again. And yet, while Last and First Men is an eerie and intelligent dystopian sci-fi film through and through, it doesn't feature a single person on-screen. Instead, the one and only movie directed by Oscar-nominated composer Jóhann Jóhannsson (Sicario, The Theory of Everything) before his 2018 death trains the camera at towering sculptures that prove instantly mesmerising to look at — and look, this movie does — and even a tad unsettling. The concept, as inspired by the 1930 novel of the same name, explained in lyrical waves of poetic prose spoken by Tilda Swinton, presented as a message from one of the earth's very last residents, and accompanied by a haunting score: several billion years into the future, after several leaps in evolution and drastic changes to life as we currently know it, humanity faces its extinction. https://www.youtube.com/watch?v=SVf8in0dj9s LA LLORONA In 2019, in one of the many spinoffs from The Conjuring franchise, The Curse of La Llorona dallied with Mexican folklore. The aim: to rustle up some formulaic scares, a task that proved largely unsuccessful but won't stop the blockbuster series from continuing to do what it does. Also first surfacing last year at international festivals, Guatemalan movie La Llorona isn't that film, thankfully. It's a feature about being haunted, too; however the ghosts caused by not just trauma but genocide, the ideology that enables such atrocities and the ongoing impact generations later all linger over this commanding, compelling and rightly award-winning psychological horror effort. The latest film by The Volcano's Jayro Bustamante, it follows the reckoning due to former army general Enrique Monteverde (Julio Diaz) over his state-sanctioned role in oppressing and attacking Guatemala's Mayan people three decades earlier. https://www.youtube.com/watch?v=mn5fZ5XwtZ4 JUST 6.5 Iranian actor Payman Maadi has many top-notch performances to his name, including in Asghar Farhadi's About Elly and A Separation, as well as in TV series The Night Of. Add Just 6.5 to the growing list, with the involving, hard-hitting crime drama casting him as a cop on the trail of drug traffickers — a job that, given the country's notoriously punishing treatment of those caught dealing illicit substances, is not only a tough and demanding gig day in and day out, but comes with grave consequences for the criminals he apprehends. Ramping up the tension to almost relentless levels, filmmaker Saeed Roustayi explores all sides of the law-and-order war against narcotics, from those slinging drugs for profit to the police officers battling to stem the flow. Aided by excellent portrayals not just by Maadi, but also co-star Navid Mohammadzadeh as the main man in his character's sights, this is a riveting thriller from start to finish — and a movie with much to say about the situation it grimly depicts. https://www.youtube.com/watch?v=iLWSW77iWTI KILL IT AND LEAVE THIS TOWN With Kill It and Leave This Town, veteran animator Mariusz Wilczyński unravels a surrealist nightmare that's unlike any other animated movie you've ever seen. The product of a decade's work, and also marking his feature filmmaking debut, it's set in communist-era Poland in the 60s and 70s — as everyday events, particularly interactions between parents and their children, beget waves of anxiety and absurdism drawn from the filmmaker's own experiences and memories. Both tender and tragic moments dance across the screen, as brought to life with a handmade aesthetic that's distinctive, disarmingly effective, and also channels the industrial-leaning paintings (no, not films) of none other than David Lynch. This is truly a movie that's best discovered by watching, and also a feature that can only be really appreciated by letting its visuals and vibe wash over you. Equally affecting and out-there, unsurprisingly, it's quite the trip. 9TO5: THE STORY OF A MOVEMENT We know, we know: you know have Dolly Parton's immensely catchy '9 to 5' stuck in your head. Yes, it pops up in the documentary that shares its name. Yes, you'll be singing it to yourself for days after you watch this film. Yes, you'll hear Jane Fonda tell a great behind-the-scenes tale about the first time she heard the song. But this isn't just an ode to a very popular tune, or the movie of the same moniker either. Rather, as directed by Julia Reichert and Steven Bognar — who just this year won the Oscar for Best Documentary Feature for American Factory — 9to5: The Story of a Movement chronicles the real-life campaign for equality in the workplace that gave rise to the hit track and comedy flick. A pivotal history lesson, as well as an important reminder about what has and hasn't changed since women in the workplace were expected to remain happy as underpaid, overworked, wife-like secretaries, this is an archival footage-filled, talking heads-heavy, always-engaging doco with insights not only into the past, but into employment today as well. https://www.youtube.com/watch?v=JdzSVxLJwrU&feature=emb_logo MOGUL MOWGLI Riz Ahmed not only stars in but also cowrites Mogul Mowgli — and given that he's playing a British Pakistani rapper, and the Four Lions and Rogue One actor also happens to be British Pakistani rapper himself, this incisive drama understandably feels personal. It's also electrifying from the moment when, early in the film, Ahmed's character Zed takes the stage and unleashes his politically charged lyrics about his experiences to a responsive audience. Zed is on the cusp of stardom but, just as he secures his next big opportunity in a supporting slot on a lucrative European tour, his health unexpectedly begins to fail him. Exploring the fallout, including the professional disappointment, Zed's struggles with his cultural heritage upon his return home to London and the tough reality of facing a shattering diagnosis, writer/director Bassam Tariq makes an exceptional debut, crafting a film that's as bold, dynamic and probing as its central performance. https://www.youtube.com/watch?v=BKvliqAoN00 WOMEN MAKE FILM: A NEW ROAD MOVIE THROUGH CINEMA MIFF isn't just virtually screening a whole heap of movies in 2020 — it's also screening a mammoth 14-hour documentary about the very medium it loves and cherishes. Exactly what Women Make Film: A New Road Movie Through Cinema covers is obvious from its title; however don't expect this female-focused exploration of cinema history to only tell you what you already know. As the iconic The Story of Film: An Odyssey already established, Mark Cousins' lengthy docos never take a standard approach. They rove and roam through their subject, overlaying expert analysis and personal insights across a treasure trove of clips, and positively bursting with cinephilia of both the astute and intimate kind. Here, with Tilda Swinton narrating (yes, again) alongside Jane Fonda (another MIFF 2020 favourite), Adjoa Andoh, Sharmila Tagore, Kerry Fox, Thandie Newton and Debra Winger, Cousins dives as deep as anyone can into the oft-overlooked canon of works by women directors — 183 of them, in fact — as well as their visual and narrative techniques over the years. MIFF 68 1/2 runs from Thursday, August 6–Sunday, August 23. For further details and to buy online tickets, visit the festival's website.
UPDATE, 2 AUGUST, 2018: After copping much backlash to its indefinite free-plastic bag offer, Coles has put a deadline on it — just 24 hours later. As reported by the SMH the company sent an internal email to staff notifying them that the offer would end on August 29. While an official statement has not been made by the company, we can only hope it sticks to its guns this time. In the next chapter of Australia's plastic bag saga, Coles has paused its ban again. And, this time, it'll be handing out free reusable bags indefinitely. The supermarket giant attempted to implement a nationwide single-use plastic bag ban on July 1, but announced just six days later that it would be giving them out for free for until July 8 (which was later extended to August 1). The reusable bags that are being given out for free would usually cost shoppers 15c. They're thicker, more durable and are made from 80 percent recycled plastic — and were meant to encourage shoppers to bring them back, again and again, rather than buying a new one each time. The reason Coles has backflipped on its ban is because, supposedly, customers "need more time". A company spokesperson told the ABC, "Some customers told us they needed more time to make the transition." The spokesperson continued, "Many customers bringing bags from home are still finding themselves short a bag or two so we are offering complimentary reusable Better Bags to help them complete their shopping." The complimentary bag offer is only valid in NSW, Vic, WA and Qld, as the other states and territories have already had single-use plastic bag bans in place for several years (SA leading the pack, introducing it back in 2009). The supermarket also offers a cloth bag alternative, its $1 Community Bags, which are designed by Australian school children and ten percent of sales are donated to charities. It's designed to be used repeatedly. Supermarket rival Woolworths, who also implemented a bag on July 1 and also temporarily gave them out for free, is currently charging for the 15c reusable bags.
The newly refurbished Crowne Plaza Melbourne is keen to remind you that the days of boring lobby bars and hotel restaurants are long gone. So much so that it's just unveiled not one, but three sparkling new venues. The Spencer Street site's now home to Japanese French restaurant Yugo, lunch and coffee joint Pow Wow, and the aptly named Dive Bar, all helmed by Creative Director Matthew Butcher, who's worked alongside industry stars like Gordon Ramsay and Shannon Bennett. Sporting an edgy fit-out of teal blue, black and white stripes, and brass accents designed by LA designer Amy Kim, Yugo has plenty of swagger. At the restaurant's heart, a private dining room sits in a glass box, its see-through walls able to be instantly frosted for privacy. From the open kitchen come dishes staring flavours and techniques from both Japan and France, like the beef tartare with pickled daikon, chicken live pâté with umeboshi, a French onion ramen starring gruyère cheese, and a vegan tonkotsu. For dessert, expect the likes of yuzu curd, matcha ice cream and sourdough crumpets with honey and sansho pepper. Pow Wow works as both a cafe and co-working space, sporting a bright, Cali-inspired look and plenty of pastel colours. Here, you might team some laptop time with bites like an omelette wrap or bacon and egg roll, or lunch on the likes of a quinoa salad bowl or spiced pork cuban sambo. There are on-the-go food packs for breakfast and lunch, too, and a drinks list that runs from coffee and kombucha to a rosé from Geelong winemakers Anti-Heroes. And booze-focused sibling Dive Bar is the cool kid of the bunch, its moody interiors laced with hot pink and neon, and a jukebox sits in one corner. The bar is slinging boutique brews, Japanese whiskies and lavish cocktails like the Breakfast of Champions — a blend of vodka, banana, blueberry, Froot Loops and coconut milk. Bar snacks might see you downing a fried chicken sub with ranch dressing, a Japanese hot dog with bonito, a mac 'n' cheese toastie or some kewpie-matched waffle fries. Find Yugo, Pow Wow and Dive Bar on Level 2, 1-5 Spencer Street, Melbourne.
When 2022 ends and 2023 begins, Woodfordia in southeast Queensland will host the Woodford Folk Festival for the first since 2019 gave way to 2020. Thousands of music and arts lovers will descend upon the Moreton Bay Hinterland spot, and plenty of them will be camping. It's an annual tradition — if you live in southeast Queensland and you haven't camped at Woodford to see out the year at least once, do you really southeast Queensland? — and, timed perfectly for the upcoming fest, the site's accommodation options just levelled up. Woodfordia has already been home to Lake Gkula for the past three years, with the conservation and recreation habitat part of the event's 500-acre parkland. To take advantage of the site, it's been hosting camping beyond Woodford's usual dates, too. Adding onsite glamping tents was always in the works — and now they're here. Twenty luxury tents are now up and running, joining Woodfordia permanently. Each one features a fully furnished room for four, complete with a queen bed, bunk beds, sofa, dining table and chairs, fixed ensuites and kitchens, and sits in the existing camping grounds around Lake Gkula — close to the General Store. To start with, glamping will be offered at at the Woodford Folk Festival and across Easter in 2023, aka when camping at Lake Gkula is happening anyway. The plan, however, is to welcome in glampers year-round, and give holidaymakers a new getaway option. "The glamping tents will be booked for events ranging from the iconic Woodford Folk Festival to the two-week Lake Gkula Camping period in Easter 2023," said Woodfordia Inc General Manager Amanda Jackes. "Ultimately, these gorgeous glamping tents will be available for bookings year-round during either festivals and events, or for private functions or short-term holiday stays." "Accommodation has always been an issue at Woodfordia, with the most recent festival selling out all our 120 premium luxury bell tents along with the 250 tent city tent motels. These luxury glamping units will bring a new level of indulgent offering for our patrons." Upon launch, prices start at $305 per night with a three-night minimum booking. Even for Easter, some tents are already sold out — so if you're already thinking about your autumn vacation, getting in quick is recommended. Located 75-minutes north of Brisbane by car, Lake Gkula provides quite the scenic backdrop for a holiday. The man-made spot is teeming with fish and plant life, with than 16 species of native freshwater fish and crustaceans are swimming in its waters. For plenty of greenery, over 8000 plants have been planted in and around the lake to-date. Crucially for both the lake's biodiversity and for human swimmers, the entire body of water is chemical-free, using pumps and injectors to keep both a constant water flow and high levels of oxygen. The water is pushed through two wetlands, which act to purify the lake while also encouraging microorganisms to thrive. For more information about glamping at Woodfordia's Lake Gkula, visit the Woodfordia website. The 2022–23 Woodford Folk Festival runs from Tuesday, December 27, 2022–Sunday, January 1, 2023. For further details, head to the Woodford Folk Festival website. Images: Waterscapes / Gain Ryan / Jen Quodling, Woodford Folk Festival via Flickr.
If you grew up in Melbourne over the last few decades, there's a near-certain chance you spent at least a few scorching hot days at Funfields Themepark. Opened in 1985 as the Alpine Toboggan Park, this family-owned business is now ready to celebrate its 40th birthday, having just reopened with a host of exciting new rides and activities. Foremost among these is the Lava Lagoon Lazy River, a relaxing experience made for seeing out the hottest of hot days. Taking about 18 months to complete, more than 5000 tonnes of earth and two million litres of water were shifted to make way for this massive project. Now up and running, this summer retreat is primed for both relaxation and adventure. Floating along a scenic, heated lazy river, wave generators shipped in from Scotland transform the final stretch of peaceful waters into undulating rapids, punctuated with overhead bridges and dormant volcanoes. Plus, the surrounding beach area — lined with 3500 plants and 12 towering palm trees — features VIP cabanas and sun loungers designed for soaking up the sun. "Our Lava Lagoon Lazy River has been something families have been asking about for years," says Funfields General Manager of Operations Flynn Simsek "It's designed for everyone, parents can unwind, kids can play, and friends can float together. It's relaxing, heated and makes you feel like you've been transported to a tropical resort." Also forming part of this expansive $10 million upgrade, visitors will encounter another brand-new activity — Cyber Drift Bumper Cars. Bringing a supercharged twist to the action, smash and crash your way around the rink before slinging yourself down all 137 metres of the Typhoon Water Slide or tackling Victoria's first outdoor heated wave pool. "This year is about celebrating 40 years of memories," says Simsek. "So many Victorians grew up coming to Funfields, and we're proud that it's become a place where families continue to make memories together." Funfields Themepark is open Saturday–Sunday from 10am–5pm at 2365 Plenty Rd, Whittlesea. Head to the website for more information.
There aren't many better, or cheaper, ways to feed an entire family than a hot roast chook. And with the cool winter weather meaning the rich, tender, warming flavours hit even harder, now is the perfect time to load one into the oven. However, Portuguese chicken maestros Oporto are inviting you to put your feet up this winter with a special holiday giveaway. From 12pm on Tuesday, June 10, over 200 participating stores across the nation are handing out 10,000 Portuguese flame-grilled chickens for free. Coinciding with Dia De Portugal, aka Portugal Day, this festive event is the ideal excuse to get the whole family together — or your closest pals — with a free meal bound to fill your belly and lift your mood this cold season. "This is about more than just chicken," says Ben Simmons, head of marketing at Oporto. "Dia De Portugal, or Portugal Day, is a global event in Portuguese culture, and what better way to mark it than with our craveable, Portuguese flame-grilled chicken? It's our way of bringing people together with food, flavour and generosity." Made the Portuguese way — that means butterflied and basted in flavourful options like lemon and herb, original chilli or extremo picante — these flame-grilled treats are incredible on their own or served with plenty of hearty sides. Each participating restaurant has a minimum of 50 free chickens to give away, with a limit of one per customer. If you miss out, the good news is that Oporto's much-loved Bondi Burger is also available for $5 to mark the occasion, too. Oporto's 10,000 free chicken giveaway is available at participating stores from 12pm on Tuesday, June 10. Head to the website for more information.
She's a longtime icon of Melbourne's party scene and the fun-loving soul that brought us spots like the Carlton Club and the Windsor Castle Hotel. Now, Tracey Lester has unveiled her latest hospitality project, reimagining Fitzroy's Gertrude Hotel as a stylish party pub with a glam-rock edge. A destination for dining, dancing and memory-making, the corner site has taken a wild departure from its former self, rocking the same high-energy colour palette that's become something of a Lester trademark. [caption id="attachment_857810" align="alignnone" width="1920"] Sharp and Lester[/caption] The hospitality veteran herself is behind every aspect of the zingy interiors, from the dramatic pendant lights, to the flocked wall panels, to the mirrored glass bouncing bold jewel tones around the rooms. If an Aussie party pub had a lovechild with Studio 54, you'd imagine it'd feel a lot like this. Expect pumping dance floors upstairs and down, weekend DJ sets bringing the groove, and disco parties in abundance. A separate tropical-themed bar sits on Level 1, along with two private party rooms that open onto the rooftop. The new Gertrude Hotel is more than just a pretty, entertaining face, though. A menu by Serradan Sharp (ex-Press Club, Maze) sits modern pub classics alongside a slew of crafty snacks and shares you can hit before the dance floor. You'll find comte and tapioca fritters with a jalapeno relish, charcoal roasted Skull Island prawns elevated with a hit of nduja, and crumpets topped with macadamia butter and shiitake. There's a whole barbecued flounder to share; pork schnitzel done with apple sauce and a fennel salad; a veg-friendly rigatoni with mushrooms and leek; and a cheeseburger loaded with your choice of American-style or blue cheese. To match, the cocktail list boasts a classic party energy — think, Tommy's margaritas, a spicy mango daiquiri and the prosecco-topped Tequila Fizzer. You'll also find a crop of mostly Aussie wines, a familiar lineup of brews on the tap list, and drink specials that include half-price negronis from 5–7pm each night. Find the newly reimagined Gertrude Hotel at 148 Gertrude Street, Fitzroy. It's open 4–11pm Wednesday and Thursday, 4pm–1am Friday and Saturday, and 1–10pm Sunday. Images: Amy Whitfield and the Gertrude Hotel
Love has always been a little bit rebellious. From secret letters and forbidden relationships, to modern-day DMs and fandom-fuelled devotion, the search for connection has rarely followed the rules. And a new exhibition at State Library Victoria is shining a light on those who dared to break them. Free to visit, Rebel Heart: Love Letters and Other Declarations dives deep into Australia's romantic past, present and imagined futures. Drawing from the Library's vast archives of intimate diaries, handwritten letters and rare manuscripts, the exhibition traces centuries of passion and pain — amplified by newly commissioned music from some of Australia's most compelling artists. [caption id="attachment_1070885" align="alignnone" width="1920"] Angie McMahon[/caption] The stories at the heart of the exhibition span eras and circumstances. Visitors will meet figures like Anne Drysdale and Caroline Newcomb, the so-called 'gentlewoman farmers' who lived together in the 1840s, their bond preserved through Drysdale's diaries. Angie McMahon's new musical work will draw directly from those personal writings. Elsewhere, Wiradyuri-Filipinx artist Mo'Ju will respond to the letters Aileen McColl wrote to Immigration Minister Harold Holt, pleading for her Filipino husband to be allowed to return home to Melbourne. Music legends Archie Roach and Ruby Hunter will also feature, with their extraordinary love story — forged while sleeping rough as teenagers and sustained through decades of artistry — honoured in a new piece by their son, Amos Roach. [caption id="attachment_1070886" align="alignnone" width="1920"] Mindy Meng Wang[/caption] Another highlight will come from a letter of unrequited love discovered tucked behind a painting in the Library in 2009, reimagined through a commission by Mindy Meng Wang. Even bushranger lore gets a romantic reframe, with the story of Captain Moonlight and James Nesbitt, who met in Pentridge Prison and remained together until Nesbitt died in Moonlight's arms during a shoot-out. The exhibition doesn't stop at the past. Rebel Heart also explores how we connect now — and what love might look like in years to come — through mixtapes, fandoms, zines, fan fiction, AI relationships and digital intimacy. Visitors can look forward to more contemporary artefacts on show too, including Taylor Swift friendship bracelets from the Australian leg of the 2024 Eras Tour. [caption id="attachment_1070888" align="alignnone" width="1920"] Victorian Valentine's Day cards will feature in Rebel Heart[/caption] Timed to coincide with Valentine's Day, the Library is also hosting a slate of themed events. Highlights include Love Letters Live, featuring candid and comedic readings by beloved comedians hosted by Nina Oyama, and Love and Art, an intimate evening series exploring how love shapes creative practice, launching with Melbourne duo The Huxleys. Rebel Heart: Love Letters and Other Declarations opens February 12th, 2026 at State Library Victoria. Images: Supplied
J-horror devotees, rejoice: Australia's Japanese Film Festival is back for 2023, and it boasts a couple of highlights for lovers of scary cinema. If you're a fan of Japan's contribution to frightening flicks, then The Forbidden Play is your first must-see. Behind the lens is Hideo Nakata, the director of 1998's iconic Ringu, aka the movie that helped spark a global obsession (and the American spinoffs, too). This time, the filmmaker tells of a son wanting to bring his mother back to life, so much so that he keeps chanting a resurrection spell that awakens something evil. This year's JFF isn't just about unsettling titles, but it does also feature Immersion, which hails from Ju-On: The Grudge director Takashi Shimizu (who also helmed the first US remake starring Sarah Michelle Gellar). In his latest effort, he's playing with grudges again, as well as traditional Japanese superstitions, virtual reality and a secluded island — which is never a good setting for a horror film. That's the unnerving contingent for JFF 2023, which is focusing on films that explore connections between the past and the present when it tours the country across spring. Of course, it will also serve another function: letting audiences head to Japan from their cinema seats. Everyone has a favourite place in the world to visit. If you love travelling vicariously through movies when you can't do the real thing — in-between trips, or when your budget or just life in general doesn't have room for big holidays — then you likely have a favourite country-focused cinema event as well. JFF is one such event, surveying the latest and greatest in the nation's filmography. 2023 marks its 27th year, in fact, complete with a packed program. Among the delightful aspects of this film festival is its two-pronged approach in most cities, giving both recent and retrospective titles their own time to shine. One part of the event heroes latest releases, the other goes big on classics, and each has their own run of dates. You'll find that setup in Canberra, Brisbane, Melbourne and Sydney from September–November, with Perth the only location solely focusing on new movies. Officially opening the fest for 2023: We're Broke, My Lord!, a character-driven story about an unexpected inheritance from director Tetsu Maeda (And So the Baton Is Passed). From there, audiences can also look forward to the aforementioned to J-horror pictures; the animated Gold Kingdom and Water Kingdom; Citizen Kitano's tribute to actor, comedian and filmmaker Takeshi Kitano (Outrage Coda); and Yokaipedia, which is about three boys on a monster-filled quest. Fellow standouts include Yudo: The Way of the Bath, a comedy about bathhouse rituals; romance We Made a Beautiful Bouquet; Natchan's Little Secret, where three drag queens head to a funeral; and Single8, with director Kazuya Konaka's paying tribute to filmmaking before the digital era. And, in the special series — aka the fest's retrospective thread — post-war Japanese cinema figure Kо̄ Nakahira is in the spotlight. JFF will screen 1956's Juvenile Jungle and Milkman Frankie, 1957's Temptation, 1962's Danger's Where The Money Is!, and 1963's Mud Spattered Purity, as well as Flora on the Sand, Only on Mondays and The Hunter's Diary from 1964, plus 1965's The Black Gambler. JAPANESE FILM FESTIVAL 2023 DATES: Canberra: Special series: Saturday, September 30–Monday, October 2 at NFSA Latest releases: Wednesday, October 11–Sunday, October 15 at Palace Electric Perth: Latest releases: Monday, October 16–Sunday, October 22 at Palace Raine Square Brisbane: Special series: Friday, October 6–Sunday, October 8 and Wednesday, October 11 at QAGOMA Latest releases: Wednesday, October 18–Sunday, October 22 at Palace Barracks Melbourne: Latest releases: Monday, October 23–Sunday, October 29 at The Kino and Palace Balwyn Special series: Thursday, November 2–Sunday, November 5 at ACMI Sydney: Special series: Monday, October 23–Wednesday, October 25 at The Chauvel Latest releases: Thursday, October 26–Tuesday, October 31 at Palace Central, Palace Norton Street and Palace Verona The 2023 Japanese Film Festival tours Australia from September–November. For more information and to buy tickets, visit the festival website. Top images: ©2023 The Forbidden Play Film Partners, © 2023 IMMERSION Production Committee.
When it comes to leaders in Melbourne's food scene, The Mulberry Group's founder Nathan Toleman has been right up there for well over a decade. When the city was undergoing somewhat of a cafe renaissance, he founded Three Bags Full, Top Paddock, The Kettle Black and Higher Ground. These were and continue to be some of Melbourne's best brunch spots. After conquering the cafe world, he set his sights on the dinner and late-night drinks trade in Melbourne's CBD, launching Dessous and Hazel. Dessous is still one of the best bars in Melbourne, and Hazel is one of the city's top restaurants. And now, Toleman's putting all of his learnings into two new neighbouring sites in Abbotsford that'll cover all your day- and night-time needs when it opens in June this year. Little Molli will be part deli, cafe and pantry, and Molli will be a sleek wine bar and bistro. Open from 8am every day, Little Molli will be serving locals a selection of loaded sangas — think smoked pork shoulder with whipped cod roe on To Be Frank's legendary focaccia and ciabatta. As it transitions to later in the afternoon, Little Molli will offer an extensive range of charcuterie and cheeses, plus a carefully chosen selection of wines by the glass that'll pair well with whatever's hitting the food menu. [caption id="attachment_868652" align="alignnone" width="1920"] Hazel[/caption] Hazel Head Chef Aleksis Kalnins is heading up both kitchens, giving great attention to Molli's dishes that are said to "sidestep the everyday wine-bar fare". Small and large plates will include eats like pork neck skewers straight from the Josper oven with a rich date puree; whole alpine trout coated with a horseradish emulsion; and pork rice crispies. "As an Abbotsford local myself, I want Molli to be the kind of place I've been missing," says Kalnins. "Really high quality and creative, but not pretentious. The food would be simple enough not to scare my mum and technical enough to make my chef friends wonder how I did it." Kayla Saito — who spends most of her time dreaming up Hazel's and Dessous' ever-changing beverage lineup — has designed a drinks list that's said to be "relaxed but thoughtful", with a deep sustainability ethos. Saito will work closely with the kitchen when fermenting some funky tipples and aims to ensure that Molli takes food waste issues seriously. Wines will lean away from the old-world varietals, aiming to be different yet unpretentious. Molli and Little Molli are still under construction, but Addition Studio is bringing plenty of light into the space with floor-to-ceiling windows. Warm, natural tones and wood finishes will keep things simple and lean into those classic bistro vibes, while a large rooftop garden with city views will open for special events. Toleman has high hopes for Little Molli and Molli, hoping to make them institutions just like so many of his previous venues. Given his track record, we feel pretty sure he'll nails these, too. Little Molli and Molli are slated to open in June this year at 20–30 Mollison Street, Abbotsford. Little Molli will be open 8am–5pm every day, and Molli will open 5-11pm on Wednesdays, 12-11pm Thursday–Saturday, and 11.30am–4pm on Sundays. Images: Tim Harris
If the last couple of years in pop culture are to be believed, it mightn't be a great idea to go away with a character played by Cristin Milioti. In three of the always-excellent actor's most recent high-profile roles, she has decamped to idyllic surroundings, only to find anything but bliss awaiting. Palm Springs threw a Groundhog Day-style time loop her way in its titular setting. Made for Love saw her trapped by sinister futuristic possibilities. In The Resort, which hails from Palm Springs screenwriter Andy Siara, she now has the ten-year itch — and a getaway to Mexico that's meant to soothe it slides swiftly into a wild mystery. In this instantly twisty comedy-thriller — which brings its first three episodes to Stan in Australia on Friday, July 29, and TVNZ On Demand in New Zealand, then drops the remaining five weekly — Miloti plays Emma, spouse to William Jackson Harper's (The Good Place) Noah. After a decade of marriage, they're celebrating at the Bahía del Paraíso in the Yucatán, but they're really trying to reignite their spark. At this stage in their relationship, he recoils at her bad breath, she makes fun of him falling asleep on the couch, and they're rarely in sync; even when they're floating along the resort's lazy river, cocktails in hand, they want different things. And, they each tackle their matrimonial malaise in wildly dissimilar ways. She wants to find herself above all else, while he's desperate to reconnect. What they both find is a missing-persons case from 15 years ago, after Emma goes tumbling off a quad-biking trail, bumps her head and spies an old mobile phone. It belongs to Sam (Skyler Gisondo, Licorice Pizza), a guest at the nearby but now-shuttered Oceana Vista Resort, who was on holidays over Christmas 1997 with his parents (IRL couple Dylan Baker, Hunters, and Becky Ann Baker, Big Little Lies), as well as his girlfriend Hannah (Debby Ryan, Insatiable). As Emma learns via Sam's photos and text messages, all wasn't rosy in his romantic life. After running into fellow guest Violet (Nina Bloomgarden, Good Girl Jane), his SMS history skews in her direction. But the pair promptly disappeared, and any potential clues were lost when a hurricane struck and destroyed their getaway spot. Initially, Emma and Noah could've waltzed right out of The White Lotus, which also saw a sunny and sandy holiday turn sour — and surveyed couples looking to reignite their love, or solidify it, but getting caught up in thorny feelings and a murky death, too. When Emma takes to solving Sam and Violet's disappearance with the kind of enthusiasm she clearly hasn't shown towards Noah for years, she could been on loan from Only Murders in the Building as well. And, the more that the obsessed Emma and the reluctant Noah investigate, the more than The Resort has in common with Palm Springs. No one relives the same day again and again, but showrunner, writer and executive producer Siara displays the same sense of playfulness. Can bonding over a 15-year-old cold case fix a flailing marriage? Did a holiday romance end in tragedy all that time ago? They're The Resort's two key questions. It has more, many uttered by Emma and Noah as they track down every tidbit they can, but they're not the only people interested. In the series' flashback timeline, Oceana Vista Resort's head of security Baltasar (Luis Gerardo Méndez, Narcos: Mexico) tries to get to the bottom of things, while Violet's father Murray (Nick Offerman, Pam & Tommy) is understandably frantic. Also part this layered tale: Gabriela Cartol (Hernán) as knowing concierge Luna, Ben Sinclair (Thor: Love and Thunder) as erratic resort owner Alex, plus Parvesh Cheena (Mythic Quest) and Michael Hitchcock (Barb & Star Go to Vista Del Mar) as two married Teds dissecting their own long-running nuptials. The Resort's three main threads — a marriage in peril, holidays gone wrong and crime-inspired sleuthing — are as familiar as scenarios get on-screen in the past few years. Indeed, picturesque vacations taking turns for the worst have become a pandemic-era staple, as M Night Shyamalan's Old, the Tim Roth-starring Sundown, the aforementioned The White Lotus and fellow TV series Nine Perfect Strangers have all demonstrated. Siara moulds his addition to the landscape knowingly, though. He approaches all three of his well-worn setups with an understanding of why they're popular, and with a roguish eagerness to zig and zag all over the place. One of the show's biggest thrills comes from seeing just where it'll veer off to next, even while working with such recognisable beats. Surprises arise not just for Emma, Noah, Sam, Violet and company, but for The Resort's audience. Something that won't astonish: how quickly bingeable the series becomes, even though it's drip-feeding out its later episodes. Like Emma and Noah, getting drawn deep into the mystery is easy. Like Sam and Violet, too, getting caught up in the excitement comes just as naturally. The need to piece together puzzles kicks into gear while watching — something that Siara also cultivated on the tonally similar, criminally cancelled-too-soon Lodge 49, and rang true of producer Sam Esmail's Mr Robot as well. It helps that The Resort always looks enticing, not just via locations bound to inspire travel yearnings, but in the detail that resonates in its jungles, caves, hotel bars and lavish penthouses alike. The show's four directors, including Sinclair (High Maintenance), Australian filmmaker Ariel Kleiman (Partisan), and Daniel Garcia and Rania Attieh (Two Sentence Horror Stories), ensure that everything seen on-screen is lively, fascinating and probing in tandem. As guides through The Resort's many turns — as audience surrogates as well — Milioti and Harper are supremely well-cast, even if both have played these types of characters before (for the latter, see: season two of Love Life). The series could've focused solely their way and unearthed ample treasures, stirring insights into love and loss among them. That said, the same is true of the reliably engaging Gisondo (who keeps building on a resume that also spans Santa Clarita Diet and The Righteous Gemstones) and Bloomgarden as Sam and Violet find their own riddle to solve. Offerman's determined father adds poignancy, plus another excellent turn to his his name, but it's Méndez who best embodies The Resort. Sometimes he's tasked with teasing out minutiae and intrigue, sometimes he's delightfully goofy, and he's always impossible to look away from. Check out the trailer for The Resort below: The Resort is available to stream in Australia via Stan and in New Zealand via TVNZ On Demand. Images: Marisol Pesquera / Peacock.
2023 marks three decades since Snoop Dogg released his first single and album, with the rap star's career evolving in a variety of ways from there. He's dropped hits like they're hot, collaborated with seemingly everyone in the music industry, and popped up on both the big and small screens. He's also taken on MC duties at wrestling matches, released his own wine and adopted aliases. And, in 2018, he shared his kitchen skills with the world via his very own cookbook. Within From Crook to Cook: Platinum Recipes From Tha Boss Dogg's Kitchen's pages, fans can find recipes for everything from 'billionaire's bacon' and 'Bow Wow brownies and ice cream' — and, of course, gin and juice. Yes, the tome means that you can listen to Snoop's tunes while whipping up his dishes and sipping the drink he'll always be synonymous with. Yes, it was another success. [caption id="attachment_908060" align="alignnone" width="1920"] Tulane Public Relations via Wikimedia Commons[/caption] From Crook to Cook reached shelves after Snoop teamed up with Martha Stewart on TV show Martha & Snoop's Potluck Dinner Party. Again, he does love a collab. So, now that it's time for a followup cookbook, the hip hop icon is also calling upon fellow rapper E-40 for help. The end result: Snoop Dogg Presents Goon with the Spoon. It's set to arrive in bookstores Down Under in November 2023, giving Snoop aficionados another way to splash their affection the musician's way after his tour across Australia and New Zealand back in February and March. This recipe collection spans more than 65 dishes, covering everything from mains and desserts to drinks. Despite the name, we're guessing that cask wine isn't included. This new kitchen bible will feature meals that take inspiration from Snoop and E-40's respective music catalogues, as well as Martha & Snoop's Potluck Dinner Party and E-40's Filipino food business Lumpia. And the reason for its moniker? Again, it isn't due to cheap boxed vino, but because that's E-40's — aka Earl Stevens — nickname, and adorns his range of sausages, ice cream flavour and burritos in the US. Snoop Dogg Presents Goon with the Spoon will also get Snoop-loving cooks sharing its wares, thanks to a selection of suggested event menus. Fancy a 4/20 potluck? Catering for a summertime block party? The cookbook includes options for both, plus headnotes and sidebar stories from Snoop and E-40's well-known pals about dinner parties and nights out together. View this post on Instagram A post shared by GOON WITH THE SPOON (@goonwiththespoon) Snoop Dogg Presents Goon with the Spoon releases on November 15, 2023. Top image: Jason Persse via Wikimedia Commons.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. We've spent plenty of couch time watching our way through this months latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from December's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW LANDSCAPERS In 2013, in an ordinary backyard in Mansfield, Nottinghamshire, UK police excavated the bodies of Patricia and William Wycherley. The elderly couple was last seen 15 years prior, with their librarian daughter Susan Edwards and her accountant husband Chris telling neighbours that the Wycherleys had moved — before Susan and Chris fled their own bills and chased their own love of Gallic cinema to France, that is. In 2014, the younger duo were convicted of the Wycherleys murders, despite willingly returning to England to face questioning and offering their own version of events in the process. To the police, the crime was a premeditated act motivated by money. In their tale, Susan and Chris spoke of multiple layers of abuse, of a heated night that ended badly, and of poor decisions inspired by a lifetime of fear. With Olivia Colman (The Lost Daughter) playing Susan and David Thewlis (I'm Thinking of Ending Things) as Chris, Landscapers unfurls the Edwards-Wycherley saga, digging into the story's details across a four-part true-crime miniseries. But as its irreverent name makes plain, this isn't the usual dive into real-life crime — and not just because its two leads turn in phenomenal performances that rank among their very best. As he's done in both TV series Flowers and recent feature The Electrical Life of Louis Wain, filmmaker Will Sharpe brings his whimsical style to this experimental retelling. On paper, such a tone and the visual flourishes that come with it might seem ill-suited to the material, but it's all a part of the show's interrogation of how its central pair — and everyone in general — navigate life by spinning their own version of reality. It's an inspired touch, and makes Landscapers one of the most distinctive and engrossing additions yet to a ridiculously busy, ever-popular genre. Landscapers is available to stream via Stan. ENCOUNTER Excellent casting can't save all films. Ambitious directors can't, either. But with Encounter, it's easy to see how the sci-fi thriller would've turned out if anyone other than Riz Ahmed was leading the show — and if a filmmaker other than Michael Pearce was at the helm. Across the last three years and his past three movies, Ahmed has turned in a trio of stunning performances that lay bare struggling men battling to reclaim a sense of normality. Indeed, arriving after Mogul Mowgli and Sound of Metal, Encounter couldn't be better placed on his resume. As for Pearce, he jumps into this slippery story of a father, a road trip and a possible alien parasite invasion after making a tremendous feature debut with 2017's Beast, and serves up the same commitment to telling thorny tales without needing to explain away everything. When Ahmed's ex-soldier Malik Khan kills a wasp in his motel room with intense determination, it's clear that he's unusually passionate about eradicating insects — and, believing that a meteorite crashed into earth not so long ago, brought extraterrestrial invaders with it, but hardly anyone else noticed, he has good reason for his entomophobia. His mission: to rescue his two young sons (Heartland's Lucian-River Chauhan and first-timer Aditya Geddada) from the bug-sized aliens, even if it means whisking them away from his ex-wife (Janina Gavankar, The Morning Show) in the middle of the night. Co-written with Joe Barton (Girl/Haji), Pearce's film isn't quite the mystery he thinks it is, but it doesn't need to be to relay its weighty character study. Whenever Ahmed is on-screen, which is often, this is a tense and moving examination of trauma, stress and endeavouring to cope with chaos both everyday and extraordinary. Encounter is available to stream via Amazon Prime Video. THE SEX LIVES OF COLLEGE GIRLS Here's a great way to know whether a new TV comedy is worth watching: check whether Mindy Kaling is involved. After stealing every scene she could in The Office, then turning The Mindy Project into a smart, funny and adorable rom-com sitcom made with oh-so-much love for the genre, she just keeps adding new shows to her resume as a co-creator, writer and producer. The Sex Lives of College Girls is the latest, and quickly thrives thanks to the kind of savvy, authentic, honest and highly amusing writing that's always been a hallmark of Kaling's work. If you didn't know she was behind it going in, you'd easily guess. It also sports an immensely descriptive title, following four college freshmen — strangers to each other, but now roommates — as they navigate the move from high school to the fictional Essex College in Vermont. Because three movies currently in cinemas starring a member of Chalamet family just isn't enough (aka Dune, The French Dispatch and Don't Look Up), The Sex Lives of College Girls features his Timothée's sister Pauline (The King of Staten Island). She plays Kimberly Finkle, who heads to Essex as valedictorian of her small-town school, is more excited about the classes than the parties, but still wants to have the full college experience. And, she's thrilled to find herself rooming with aspiring comedy writer Bela Malhotra (Amrit Kaur, The D Cut), star soccer player Whitney Chase (first-timer Alyah Chanelle Scott) and the wealthy Leighton Murray (theatre star Reneé Rapp) — even if the latter in particular doesn't initially return the enthusiasm. The quartet's exploits from there navigate all the usual kinds of relatable college antics, but do so with a warm-hearted vibe, a great cast, insightful humour, and a shrewd focus on friendships and figuring out who you want to be. The first season of The Sex Lives of College Girls is available to stream via Binge. SWAN SONG It took Mahershala Ali a mere two years to back up his first Best Supporting Actor Oscar with a second one, initially winning for the sublime Moonlight before again earning the nod for being the best thing about Green Book. He won't add a third Academy Award to his mantle for Swan Song, but he gives it two tries — playing a terminally ill illustrator who doesn't want to put his family through the pain of losing him, and also playing the clone his character has secretly had made to replace him without his loved ones ever knowing he was even sick. That's the futuristic sci-fi premise behind this poignant drama, which tussles with life, love, loss and two inescapable realisations. This isn't just a movie about facing your own mortality, but about confronting the fact that everything that's important to you — everyone that's important, to be specific — will still continue on after you say goodbye. Not to be confused with the Udo Kier-starring film of the exact same name that's just reached cinemas, Swan Song ruminates on Cameron Turner's (Ali, Alita: Battle Angel) moral quandary after enlisting Dr Scott (Glenn Close, Hillbilly Elegy) to replicate him before he succumbs to his illness. Even after seeing how fellow patient Kate (Awkwafina, Shang-Chi and the Legend of the Ten Rings) and her clone fare, it's a decision that weighs heavily on his mind — especially given his wife Poppy (Naomie Harris, Venom: Let There Be Carnage) is expecting their second child. So much of Swan Song's power stems from Ali's ability to wade through such a difficult choice, and to convey its emotional ramifications often without saying a word. In this thoughtful directorial debut by writer/director Benjamin Cleary, Ali also unpacks the flipside as Jack, who'll replace Cameron, and sees the possibilities his existence brings with literally fresh eyes. Swan Song is available to stream via Apple TV+. THE NORTH WATER When ex-army surgeon Patrick Sumner (Jack O'Connell, Seberg) secures a gig on a whaling expedition to the Arctic working as the ship's doctor, he's clearly running from something. His new colleagues are instantly suspicious of his story, bloodthirsty harpooner Henry Drax (Colin Farrell, Voyagers) among them — although Captain Brownlee (Stephen Graham, Venom: Let There Be Carnage) and whaling company owner Baxter (Tom Courtenay, Summerland) are mostly just happy for his cheap services. That's the setup for The North Water, the 19th-century-set, five-part miniseries that takes to the seas, to the cold and to a brutal world, and proves grimly mesmerising with its Moby Dick-meets-Heart of Darkness vibes. Charting a survivalist tale not just of the physical kind amid all that unforgiving ice (and on those treacherous waters), but also of the emotional and mental variety as well, this is one of the most relentlessly intense shows to hit screens in 2021 — and it's also gripping from start to finish. The first episode sets the scene in a slow-burn fashion, culminating in sights so searing they're impossible to forget — and the story, as well as the vast chasm between Sumner and Drax, only grows from there. Writer/director Andrew Haigh adapts Ian McGuire's novel of the same name, but this series has the Weekend, 45 Years and Lean on Pete filmmaker's stamp all over it. He finds as much empathy here as he has throughout his stellar big-screen projects, and once again demonstrates his extraordinary eye for detail, exceptional sense of place and winning way with actors. With the latter, having O'Connell and Farrell lead the charge obviously helps. They're not only reliably phenomenal; they each put in some of their best-ever work, and their performances seethe with complexity. So does the entire miniseries, which is never willing to pose easy answers or provide straightforward interpretations when ruminating over the minutiae is much more riveting, fascinating and realistic. The North Water is available to stream via Binge. MACGRUBER They can't all be The Blues Brothers or Wayne's World — films based on Saturday Night Live sketches, that is. Eagerly silly, as you'd expect of any MacGyver send-up, 2010's MacGruber definitely doesn't belong in the same category as the two best SNL-to-cinema flicks. That hasn't stopped an action-parody TV series hitting streaming 11 years later, however. And, with Will Forte once again donning a Richard Dean Anderson-style mullet and wearing plenty of flannelette, this MacGruber revival is the satire's finest moment yet. You could easily think that it only exists because Forte had a gap in his schedule, or because even television skits-turned-movies never die, and both are likely true. Still, when it comes to making fun of all the action cliches that'll never leave screens either big or small, this series knows its unashamedly ridiculous niche. The setup: after spending a decade in prison, the eponymous hero is given a reprieve by his pal General Barrett Fasoose (Laurence Fishburne, The Ice Road) when the president's daughter is kidnapped. He's part of the ransom demand, but his long-term foe Brigadier Commander Enos Queeth (Billy Zane, The Boys) also has other plans. Cue a cavalcade of amusingly over-the-top gags about action-flick machismo and every other trope the genre keeps throwing at viewers, all with Forte and his co-stars as committed as ever to the concept, tone and non-stop jokes. If it wasn't so self-aware — and if both Forte and Kristen Wiig (Barb and Star Go to Vista Del Mar) weren't so pitch-perfect in their parts — it might just be stupid rather than stupidly funny. Thankfully, MacGruber knows what it is, knows how to do it well, and knows the difference between being dumb and serving up gleefully dumb fun. The first season of MacGruber is available to stream via Stan. NEW SHOWS TO CHECK OUT WEEK BY WEEK STATION ELEVEN Add Station Eleven to the pile of post-pandemic movies and shows that ponder that very subject — a topic that'll continue to grace our screens for years and decades to come. It's unfair to clump this haunting end-of-the-world miniseries into the same group as opportunistic flicks such as Locked Down, though. Instead, like Y: The Last Man, it predates COVID-19, arrives after garnering a devoted following on the page, and taps into something far deeper than obvious observations about being stuck at home with your significant other and having to scramble to buy toilet paper. The focus of this excellent show, and of Emily St. John Mandel's 2014 book before it, is how art and community all play immeasurable parts in helping humanity process and navigate existence-shattering traumas — and to find a path out the other side. That's a sentiment that might sound mawkish and self-evident when described in a mere sentence, but nothing about Station Eleven ever earns such terms. It all starts with a flu that swiftly proves more than just the usual sniffles, coughs, aches and pains. For eight-year-old Shakespearean actor Kirsten (Matilda Lawler, Evil), the chaos descends during a tumultuous opening-night performance of King Lear led by Arthur Leander (Gael García Bernal, Old), the aftermath of which sees her traipsing around snowy Chicago with Jeevan (Himesh Patel, Don't Look Up), who she has just met. That's really just the beginning of this multi-layered narrative, which also jumps forward 20 years to experience Kirsten's (Mackenzie Davis, Happiest Season) life with a travelling theatre troupe as the planet adjusts to its new normality — and keeps fluttering backwards into her younger exploits, and into the experiences of others connected to her story in various ways. This is a dystopian disaster tale not just about merely surviving, but about truly enduring, and it's a lyrical, heartfelt and character-driven apocalyptic musing with an immediate difference. The first five episodes of Station Eleven are available to stream via Stan, with new episodes dropping weekly. FIREBITE Trust Warwick Thornton to rove his eyes across Australia's sunburnt landscape, imagine vampires prowling the outback and cast those predators within a narrative that hails back to the First Fleet's arrival. The Samson and Delilah and Sweet Country filmmaker co-created new Aussie fantasy-horror series Firebite with Mad Bastards' director Brendan Fletcher, so the credit isn't his alone; however, given that he's spent his career exploring the nation's treatment of Indigenous Australians, it slips easily into his filmography. His third TV project in short succession following the second season of Mystery Road and stunning docoseries The Beach, Firebite also carves out a place for Indigenous tales within the undead genre. Indeed, seeing the colonisation of Australia as the act of ruthless bloodsuckers is an idea so smart and shrewd that this new streaming delight deserves to span on for several seasons. Making glorious use of Coober Pedy's dusty expanse — and its underground dugouts, which help locals escape the heat — Firebite follows two black vampire hunters, aka bloodhunters. Tyson (Rob Collins, The Drover's Wife The Legend of Molly Johnson) doesn't really like the label, but he's determined to keep his hometown of Opal City free of vampires, and he's teaching his teenage daughter Shanika (Shantae Barnes-Cowan, Total Control) the trade. But then The King (Callan Mulvey, High Ground) arrives, and more bloodsuckers follow. As a century of vampire fare dictates, this doesn't bode well for humans. Thornton and Fletcher — and fellow director Tony Krawitz (Secret City) — never merely follow in anyone else's footsteps, though. In fact, they don't just sink their teeth into a familiar concept, but tear into it to tell their own standout tale, and do so with a devil-may-care attitude that drips through Firebite's style, story and performances. The first two episodes of Firebite are available to stream via AMC+, with new episodes dropping weekly. EXCELLENT RECENT BIG-SCREEN RELEASES TO CATCH UP WITH IMMEDIATELY THE POWER OF THE DOG Don't call it a comeback: Jane Campion's films have been absent from cinemas for 12 years but, due to miniseries Top of the Lake, she hasn't been biding her time in that gap. And don't call it simply returning to familiar territory, even if the New Zealand director's new movie features an ivory-tinkling woman caught between cruel and sensitive men, as her Cannes Palme d'Or-winner The Piano did three decades ago. Campion isn't rallying after a dip, just as she isn't repeating herself. She's never helmed anything less than stellar, and she's immensely capable of unearthing rich new pastures in well-ploughed terrain. With The Power of the Dog, Campion is at the height of her skills trotting into her latest mesmerising musing on strength, desire and isolation — this time via a venomous western that's as perilously bewitching as its mountainous backdrop. That setting is Montana, circa 1925. Campion's homeland stands in for America nearly a century ago, making a magnificent sight — with cinematographer Ari Wegner (Zola, True History of the Kelly Gang) perceptively spying danger in its craggy peaks and dusty plains even before the film introduces Rose and Peter Gordon (On Becoming a God in Central Florida's Kirsten Dunst and 2067's Kodi Smit-McPhee). When the widowed innkeeper and her teenage son serve rancher brothers Phil and George Burbank (Spider-Man: No Way Home's Benedict Cumberbatch a career-best, awards-worthy, downright phenomenal turn, plus Antlers' Jesse Plemons) during a cattle-run stop, the encounter seesaws from callousness to kindness, a dynamic that continues after Rose marries George and decamps to the Burbank mansion against that stunning backdrop. Brutal to the lanky, lisping Peter from the outset, Phil responds to the nuptials with malice. He isn't fond of change, and won't accommodate anything that fails his bristling definition of masculinity and power, either. The Power of the Dog is available to stream via Netflix. Read our full review. THERE IS NO EVIL The death penalty casts a dark and inescapable shadow over There Is No Evil, which is just as writer/director Mohammad Rasoulof intends. The Iranian filmmaker has spent his career examining the reality of his homeland, as previously seen in 2013's Manuscripts Don't Burn and 2017's A Man of Integrity — so much so that he's actually been banned from his craft, not that that's stopping him. With There Is No Evil, Rasoulof doesn't simply continue the trend that's guided his cinematic resume thus far. Rather, he interrogates the most severe form of punishment that any society can enact, and doesn't shy away from horrors both obvious and unplanned. To call the result powerful is an understatement, and it's won him Berlinale's prestigious Golden Bear in 2020, and now the 2021 Sydney Film Festival Prize as well. An anthology film that unfurls across four segments, There Is No Evil explores capital punishment, its impact and the ripples that executions have upon Iranian society. Even the mere concept of state-sanctioned killing rolls through the feature like waves, changing and reshaping much in its wake. It touches a stressed husband and father (feature first-timer Ehsan Mirhosseini), a conscript (Kaveh Ahangar, Don't Be Embarrassed) who can't fathom ending someone's life, a soldier (Mohammad Valizadegan, Lady of the City) whose compliance causes personal issues and a physician (Mohammad Seddighimehr, The Sad Widows of the Warlord) unable to practise his trade. While some sections hit their mark more firmly and decisively than others — There Is No Evil's introduction sets a high bar — this meticulously crafted movie, both visually and thematically, has a lingering cumulative effect as it ruminates on the threats and freedoms that come with life under an oppressive regime. There Is No Evil is available to stream via SBS On Demand. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September, October and November this year — and our top new TV shows of 2021, best new television series from this year that you might've missed and top straight-to-streaming films and specials as well. Top image: Ian Routledge/AMC+.
Clocking in at two hours and 40 minutes, Quentin Tarantino's Once Upon a Time in Hollywood isn't a short movie. Like the bulk of the acclaimed writer/director's films, however, it's one that viewers would be be happy to spend even longer with. Since the hit flick premiered at the Cannes Film Festival last year, Tarantino has even talked about returning to its world, revealing that he has written the scripts for five episodes of the Rick Dalton (Leonardo DiCaprio)-starring fictional TV western Bounty Law — and that he plans to make and direct them all. It might take some time for that to come to fruition, though, so a new, free documentary that peeks behind the scenes of Once Upon a Time in Hollywood will just have to do in the meantime. Called Once Upon a Time in Hollywood — A Love Letter to Making Movies, the half-hour doco lives up to its title. Not only does it step through the making of Tarantino's feature, but it explores how the filmmaker's obsessive love of cinema informed everything about the movie. QT's fondness for the medium he works in isn't new news. Neither is his tendency to fill his films with references to his inspiration, or his dedicated attention to detail. But if you want to hear more about how that all plays out on this specific 19169-set flick — a movie that's, among other things, a love letter to Hollywood's heyday just as it was fading — then here's your chance. Currently available to watch on Youtube, Once Upon a Time in Hollywood — A Love Letter to Making Movies features plenty of the movie's heavy-hitters, so expect to-camera chats from Tarantino — obviously — as well as DiCaprio, Brad Pitt, Margot Robbie, Kurt Russell, Timothy Olyphant and the late Luke Perry. With the film industry's annual awards season currently in full swing, and with Once Upon a Time in Hollywood not only vying for ten Oscars, but hotly tipped to nab the coveted Best Picture prize —if Parasite or 1917 doesn't beat it, that is — the documentary's release is obviously extremely well-timed. Check out Once Upon a Time in Hollywood — A Love Letter to Making Movies below: https://www.youtube.com/watch?v=8AxkaueDxYM Top image: © 2018 CTMG, Inc. All Rights Reserved.
What are your thoughts on a good acrobatics show? Are you entranced by the physicality, the movements that require seemingly impossible feats of strength and concentration? Then check your calendar and get ready to witness Le Aerial, a globally praised show coming to the Playhouse Theatre at Arts Centre Melbourne from Wednesday, May 3 to Sunday, May 7. Le Aerial brings top-shelf Aussie stars of the stage and screen to a production of Cirque-style skill and heights. Le Aerial is more than just feats of acrobatic wonder — keep your ears peeled for two singers and live music for an extra level of entertainment. These productions involve a lot more verticality than your typical stage play or musical, so it takes a special kind of performer to bring these shows to life. Those performers include international gymnastics sensation Alex Caulfield, fresh from performing with Cirque Du Soleil in Totem, local Melbourne musical theatre star Mike Snell, Craig Monley and Sriani Argaet (Dancing With The Stars) and a lineup of exceptional gymnasts and dancers. The show has captivated audiences worldwide for the better part of eight years, but this Melbourne stint is only six shows over five days (plus a few special matinee performances), so you'd better get your tickets ASAP. Le Aerial will play daily from Wednesday, May 3 to Sunday, May 7, in the Playhouse Theatre of Arts Centre Melbourne. For more information on the show and the venue or to secure your tickets, visit the website.
It tells of gold rushes, of brave and dusty new worlds, and of yellow frontiers stretching out beneath shimmering and inky blue skies; however, the true colour of the western is and always will be red. This isn't a genre for the faint-hearted, because it's a genre that spins stories about power and its brutal costs — power over the land and its Indigenous inhabitants; power-fuelled in-fighting among competing colonialists; and power exercised with zero regard for life, or typically for anyone who isn't white and male. It's a rich and resonant touch, then, to repeatedly dress Emily Blunt in crimson, pink and shades in-between in The English, 2022's best new TV western. She plays one instance of the show's namesakes, because the impact of the British spans far beyond just one person in this series — and the quest for revenge she's on in America's Old West is deeply tinted by bloodshed. In her first ongoing television role since 2005 — and following a varied array of big-screen parts in the last couple of years, including navigating theme park ride-inspired chaos in Jungle Cruise, monsters that pounce on every sound in A Quiet Place Part II and bad Irish accents in romance Wild Mountain Thyme — Blunt dons such eye-catching hues as Lady Cornelia Locke. With a mountain of baggage and cash in tow, she has just reached Kansas when The English begins, seeking vengeance against the man responsible for her son's death. But word of her aims precedes her to this remote outpost's racist hotelier (Ciarán Hinds, Belfast) and, with stagecoach driver (Toby Jones, The Wonder), he has own mission. That the aristocratic Englishwoman arrives to find her host torturing Pawnee cavalry scout Eli Whipp (Chaske Spencer, Blindspot) is telling: the plan is to blame her end on him. Before the first of this Prime Video miniseries' episodes ends — all six of which stream from Friday, November 11 — Cornelia and Eli have rescued each other and notched up a body count. She's still determined to get her retribution, he's trying to head home to Nebraska to claim land promised for his military service, and they're each endeavouring to find peace in their own ways. This isn't the genre for that to come easily, either, as stop after stop on their journeys makes clear. The bulk of The English takes place in 1890, but to survey the way that rampant and engrained imperialistic violence and dehumanisation — of First Nations Americans, and of women — leaves scars that linger, the series also jumps backwards 15 years, and takes a flashback trip to Cornelia's native London. Writer/director Hugo Blick (The Honourable Woman, Black Earth Rising, The Shadow Line) charts pain that bakes as unforgivingly as the frontier sun: massacres of Indigenous Americans and non-English-speaking settlers alike, the ruthless money- and power-first mentality to staking claims and seizing everything in view, and the dark hearts festering inside abhorrent men who can only hate what they refuse to spend time knowing. The English is a show of shootings, scalpings, stabbings and slaughter, and blood is an oh-so-frequent sight. But Blick also makes a compelling and compassionate series about two kindred souls fighting for what they hold dearest, and against the kinds of horrors that everyone should battle, no matter the cost to their own personal survival. The tone isn't quite as unrelenting bleak, and the setting is on the other side of the world, but Jennifer Kent's Australian masterpiece The Nightingale springs to mind — and The English doesn't suffer in the comparison. As the iconic spaghetti westerns of the 60s and 70s, exceptional TV series Deadwood, and recent big-screen period-set westerns like The Harder They Fall and The Power of the Dog have all shown, this genre also serves up a gallery of rogues living, dying, striving and thriving amid such inhospitable surroundings. The English is no different; when Black-Eyed Mog (Nichola McAuliffe, The Man Who Fell to Earth) shows up, she isn't quickly forgotten, and nor are Gary Farmer and Kimberly Guerrero (both of Reservation Dogs) as a Native American couple getting by, or Rafe Spall (Trying) at his most operatic and nefarious (and with quite the accent and wardrobe). Including Stephen Rea (The Stranger) as a small-town sheriff in Hoxem, Wyoming and Valerie Pachner (Fantastic Beasts: The Secrets of Dumbledore) as another put-upon woman greeted by hardship in her adopted homeland, there's no weak link among The English's cast. Even brief appearances make a mark, as aided by banter that recalls Quentin Tarantino's Django Unchained and The Hateful Eight western-genre best. That said, Blick never lets his two stars slip from the limelight — from the golden beams that colour his setting with far more splendour than sites of such grim events deserve, to be exact. Traversing the birth of colonised America, his narrative does what the greatest westerns do, unfurling a clash between good and evil, right and wrong, and the outdated and the modern against landscape that lends itself to myth; his series is always about people first and foremost, though. Blunt's resume overflows with highlights, given that it spans My Summer of Love, The Devil Wears Prada, The Young Victoria, The Muppets and Looper through to Edge of Tomorrow, Sicario, Mary Poppins Returns and more, and her phenomenal efforts in The English slot in swiftly besides her finest work to-date. Spencer comes to the series with less fame (The Twilight Saga, Banshee, Sneaky Pete and Jessica Jones are among his other credits) but with just as much command and presence. Indeed, to watch Blunt as Cornelia is to watch a woman wield her strength, grief, heartbreak and empathy like no one expects her to, and keep picking herself up to do so again and again. She won't let her pain subside, or submit to anyone that tells her otherwise — and while the action-hero aspect of the series is nothing new to its best-known talent, she's phenomenal every time the camera peers her way. To watch Spencer is to watch a star-making turn, a part of brooding and swagger as well as deep soul and honesty, and a performance that's as riveting as Clint Eastwood and John Wayne ever delivered. In a TV realm that is welcomely starting to centre Indigenous American actors and stories (see also: Reservation Dogs and Rutherford Falls), as it should, he's a magnetic powerhouse. To watch The English is also to luxuriate in spectacular imagery, as lensed by Arnau Valls Colomer, that says as much as the show's stars and dialogue. The cinematographer arrives fresh from making every detail of every frame matter in stellar Spanish filmmaking satire Official Competition, and the same approach is pivotal here. One particularly glorious detail: the way that extreme long shots keep showing Cornelia and Eli galloping both towards and from their destinies, often in static compositions that let their horses storm in from each side of the image, then start being swapped for slightly closer vantage points in later episodes. It's a thoughtful move that mirrors its two protagonists' paths, and also never lets the world they're rallying against fade from view. It's also stunning and powerful filmmaking in a series that earns those terms several times over. Check out the trailer for The English below: The English is available to stream via Prime Video from November 11.
When you've ushered the world into Vincent van Gogh's work — getting them not just peering at it but stepping through it thanks to an immersive 360-degree experience — what comes next? For the folks at Melbourne-based Grande Exhibitions, it's now Claude Monet and his impressionist peers' turn. Hot on the heels of Van Gogh Alive touring the country, and even hitting up some cities multiple times, Monet in Paris is set to dazzle from winter 2023. This exhibition will enjoy its world premiere in Brisbane, hitting Northshore Hamilton for two months from Wednesday, June 7–Sunday, August 6. While further stops haven't yet been announced, the River City stint is being hailed as its global debut — and it will tour Australia afterwards. Art lovers can look forward to wandering around the 2500-square-metre Grand Palais, a marquee custom-designed by Australian theatre designer Anna Cordingley, with the venue set to feature six breakout spaces, a cafe, multiple bars and a gift shop. Of course, it's Monet and his pals' creations that's the big drawcard. Featuring Monet's Water Lilies, getting attendees dancing with Edgar Degas' ballerinas and just whisking visitors into 19th-century Paris' bohemian vibe — with detours to the French countryside — there'll be plenty to see. Fans of Van Gogh Alive know how it works from there, with iconic paintings projected large — pieces not just by Monet and Degas, but also from Camille Pissarro, Pierre-Auguste Renoir, Paul Cézanne, Berthe Morisot, Mary Cassatt and more. Once again, that means using Grande Experiences' state-of-the-art technology, which is behind those beamed images. And, there'll also be a classical score soundtracking the experience. "The team at Grande Experiences are absolutely thrilled to premiere Monet in Paris in Brisbane in June," said Founder and CEO Bruce Peterson. "Produced in the same immersive multi-sensory format as the hugely successful Van Gogh Alive, this very new and unique experience will captivate and enthral audiences young and old as we enjoy many of the colourful works of art from the French masters of the 19th century, combined with a wonderful musical score and special aromas permeating throughout the venue," he continued. If Monet in Paris sounds familiar, that's because Grande Exhibitions also run Melbourne's digital-only gallery The Lume, which has been hosting the similar Monet & Friends Alive since October 2022. Monet in Paris' debut season will run from Wednesday, June 7–Sunday, August 6 at Northshore, Brisbane, with ticket pre-sales from Thursday, March 9 and general sales from Tuesday, March 14. For further details, head to the event's website. Images: Grande Experiences.
In the space of less than a week, the last two Super Bowl half-time show headliners have both announced 2025 tours to Australia. First, Kendrick Lamar locked in a prime slot at Spilt Milk just months after taking to the field. Next, 2024's Super Bowl performer Usher has confirmed Aussie dates for his Past Present Future world tour. He's heading to Melbourne in November and Sydney in December. The appropriate reaction if you're an Usher fan: yeah! This will be the eight-time Grammy-winner's first Australian solo headline tour since 2011. Celebrating his three-decade career is the name of the game — which means going all the way back to his first single 'Call Me a Mack' from 1993, also playing tracks off of his latest 2024 album Coming Home, plus working his way through plenty in-between. "I can't wait to bring this tour to Australia, a place where I hope to retire in the future. See you soon!" said Usher, announcing his trip Down Under. Eight dates have been locked in for when Past Present Future makes its Aussie stop: four each at Rod Laver Arena in Melbourne across Wednesday, November 19–Thursday, November 20 and Saturday, November 22–Sunday, November 23, plus another four at Qudos Bank Arena in Sydney from Monday, December 1–Tuesday, December 2 and Thursday, December 4–Friday, December 5. And yes, that timing means that Usher and Lamar will be here at around the same time, given that Spilt Milk runs across the first two weekends of December. The first US shows on the Past Present Future tour were announced just days before Usher's Super Bowl set, which worked through hits from across his lengthy career itself. From August–December 2024, the Texas-born singer made his way across North American stages, before heading to Europe (including England, France, the Netherlands and Germany) from March 2025. Also popping up on his setlist across the tour so far: 'Yeah!', of course, plus everything from 'Can U Get Wit It', 'Nice & Slow', 'U Remind Me' and 'U Got It Bad' to 'Burn', 'OMG', 'Euphoria' and more. Usher Past Present Future World Tour Australia 2025 Dates Wednesday, November 19–Thursday, November 20 + Saturday, November 22–Sunday, November 23 — Rod Laver Arena, Melbourne Monday, December 1–Tuesday, December 2 + Thursday, December 4–Friday, December 5 — Qudos Bank Arena, Sydney Usher is touring Australia in November and December 2025. Presales start on Monday, May 12 at 11am for Melbourne and 12pm for Sydney, while general tickets go on sale at 12pm for Melbourne and 1pm for Sydney on Friday, May 16 — head to the tour website for more details. Images: Marcus Macdonald / Bellamy Brewster.
It's that time of year, somehow. Christmas is almost here, summer has officially started and you're probably thinking about your 2021 shenanigans. While jetting overseas still isn't an option for Australians at the moment, you can make plans to roam around much of this country we all come home now that borders are reopening — and, if you'd like to head over to South Australia in the new year, its government wants to give you an extra incentive. As part of the returning Great State Vouchers scheme — which first ran in October this year — the SA Government is giving away $50 and $100 vouchers to use at hotels in the state between Thursday, January 7–Wednesday, March 31, 2021. The amount of the voucher varies depending on where you're planning on staying, with $50 vouchers on offer for regional and suburban accommodation, and $100 vouchers available to use for Adelaide CBD and North Adelaide stays. During the first round of vouchers, more than 50,000 where snapped up in just over an hour — but they were only available to South Australian residents. This time around, with more than $2 million worth of vouchers available, the scheme is open to interstate folks as well. And, in another expansion, they can be redeemed over a longer booking period, and can also be used at accommodation places with five or more rooms (up from ten or more last time). That means that you'll be able to choose between hundreds of places to stay — with more than 800 accommodation providers eligible to participate. To take part, you'll need to download a voucher from the scheme's website on Tuesday, January 5, then make your booking between Thursday, January 7–Sunday, January 31. There are a few caveats, unsurprisingly. The vouchers don't cover Saturday nights and, to try to nab one, you'll have to log on to the voucher website and prove your identification via your driver's license or proof of age card. Border-wise, SA currently doesn't require interstate visitors to quarantine, after opening its borders to Victoria on Tuesday, December 1. But some states do currently have restrictions in place for anyone who has travelled to South Australia, or parts of it (such as Queensland, Western Australia and Tasmania) — or require permits (Victoria) to enter if you've been in SA. So, it's best to keep an eye on your state's requirements when you're trying to score a voucher and then making a hotel booking. For further details about South Australia's Great State Vouchers scheme — or to nab one on Tuesday, January 5 — head to its website.
If you're after a fitting chocolate treat to spread the Valentine's Day love, you'll find it hard to go past the Baci. An indulgent morsel of chocolate and hazelnut, wrapped in foil with a love note inside, and named after the Italian word for kisses? Now that's amore. And once again, your mates at Piccolina Gelateria have taken the concept and run with it, creating a new Baci-inspired gelato cake guaranteed to have your boo (or just you) swooning on February 14. This year's limited-edition Valentine's treat comes in the form of the Baciami (a more passionate variation of "kiss me") — a Baci-shaped frozen cake featuring hazelnut gelato, Frangelico hazelnut croccante and gianduja ganache, along with the signature Better than Nutella gelato and a hazelnut dacquoise. In a nod to the original, this supersized version is glazed in dark chocolate and packaged in the tell-tale silver foil. And in a win for Valentine's Day gifters, the wrapping also hides a love note — inspired by one featured in Frank Sinatra's Baci collaboration back in 1962. Clocking in at $28, the Baciami is big enough to serve two, making the perfect date-night dessert. Pre-orders are now open, with pick-up available from all six of Piccolina's Melbourne stores. [caption id="attachment_848617" align="alignnone" width="1920"] Piccolina Hawthorn, by Jana Longhurst[/caption] Piccolina's Baciami is available to pre-order online, to pick up from the Collingwood, Hawthorn, Richmond, St Kilda, Hardware Lane or Degraves Street stores.
Family-run Nagambie wine bar Eighteen Sixty has one clear mission: to celebrate and showcase the wide-ranging vinous delights of the Nagambie Lakes, Strathbogie Ranges and Goulburn Valley. Named in a nod to the region's lengthy viticulture history, which dates right back to 1860, the venue pays homage to the local wine scene, with more than 50 drops available to sip and an impressive rotation by the glass. Familiar labels and undiscovered emerging acts star alongside a tidy crop of beer, cider and spirits. To match, you'll find a lineup of simple, Italian-accented fare, also celebrating the region's best ingredients. Here, you can pop in to enjoy refined drinking snacks like a duck and sour cherry terrine ($15), kingfish crudo with fennel and lemon ($24), or focaccia matched with whipped lemon ricotta ($7). Crostini might come topped with the likes of asparagus, broad bean and goats curd ($10), while those with heartier appetites can tuck into pasta dishes including a squid ink linguine ($29), and pappardelle in a Tuscan-style beef cheek ragu ($27). The space itself is one you'll happily settle into for a few hours, complete with a rustic charm, whitewashed brickwork, a heated courtyard and a woodfire taking pride of place at its heart. And if you swing past between 3pm and 5pm Thursday to Sunday, you can look forward to prosecco, beer, spirits, wine and snacks for $5–10 as part of the venue's Apero special. Images: Parker Blain
The sun is shining, your out of office is on and you've already spent a good amount of time curled up streaming TV shows. Now's the chance to catch up on your reading — so, find a shady spot on a beach, next to a pool or by a waterfall and start making your way through our favourite ten books of 2019. It's a mixed bag this year — we've been turning the pages of a novel about a debaucherous secret society, the latest Booker Prize winner (no, not The Testaments), devastating nonfiction works about Australian bushfires and a heartwarming page-turner combining politics, royalty and queer history. Some of them are immersive, some of them knotty and uncomfortable, which makes them perfect for mulling over during the holidays, and provide flavourful fodder for dinner conversations. Take your pick. LANNY BY MAX PORTER In 2016, Max Porter won the Dylan Thomas Prize for his debut novel Grief Is the Thing With Feathers — a story in which a trickster-babysitter crow visits two grieving children. This year, Porter delivered another poetic and daring tale, this time centring on a creative and mysterious boy called Lanny. There's a rhythm to Porter's writing; he illustrates one of his most exciting characters through a scrawling, italicised font that seems to slip and slide off the page. Dead Papa Toothwort is a shapeshifting spirit that feeds on the life and grime of Lanny's village in the English countryside — one with gossip at the school gates, nosy but well-meaning neighbours, and a woodland where children like to build treehouses. Reliable old Pete is Lanny's good friend. He's an older man, an artist, and one of the more likeable characters. What starts as an eerie, but largely quiet, tale of village life gathers speed towards the end, when Lanny is missing and the village mob starts pointing fingers. SUPPER CLUB BY LARA WILLIAMS Lara Williams' novel about a secret society of women who meet after dark to feast is superb. At the centre of the novel is Roberta, and the novel jumps back and forth between her days at university, where she teaches herself to cook and dates a lecturer, and the present day, where her and her wild, intense friend Stevie start the supper club. Over bowls of pasta, slabs of meatloaf, messy bouillabaisse and gallons of wine, the women gorge themselves and behave in an incredibly 'unladylike' manner in rebellion of their oppression by men. They throw food at each other, vomit, dance topless and go wild with debauchery. Intelligent and boldly written, Williams' story is less about food and more about the characters' appetites to acquit themselves of their everyday lives. Easy to read, you'll smash it quicket than your avocado on toast. RED, WHITE AND ROYAL BLUE BY CASEY MCQUISTON It might be questionable of us to include a book that would certainly not be considered literary, and falls firmly in the romance and new adult categories. But Casey McQuiston's debut novel Red, White & Royal Blue is so joyous and hopeful that it makes you want to throw away any pretence of trying to appear cool. Incorporating, and elevating, all the best cheesy rom-com tropes — enemies to friends to lovers, fake friendships, a secret relationship and an email scandal — McQuiston's writing is heartwarming, funny and intelligent as she blends politics, royalty and queer history into a big ball of happiness. I challenge you not to fall in love with this book's diverse cast of characters: Alex, the obliviously bisexual Mexican-American son of the first woman president of the United States; Henry, the compassionate, quietly homosexual prince of England with a scholarly interest in queer history; Pez, the prince's dastardly attractive Nigerian best friend; Zahra, the president's fierce and frightening chief of staff; Amy, a transwoman and former marine-turned-secret service agent who likes embroidery. Would recommend to anyone looking for a book so firmly placed in the now — but a better one than the one we've got. If it were possible, it would make your heart smile. ON EARTH WE'RE BRIEFLY GORGEOUS BY OCEAN VUONG Ocean Vuong's debut novel found itself on a host of nominee lists for literary prizes his year, earning reviews describing it as shattering, tender, haunting and stunning. On Earth We're Briefly Gorgeous is a letter from a son to a mother, tracking a family history back to its roots in war-torn Vietnam and forward to the son's experiences as a queer, biracial American, and telling a story trapped between the worlds of trauma and compassion. Vuong's poetry background makes for prose that is fluid, raw and earnest, in an intimate exploration of race, class, grief and masculinity. SALT BY BRUCE PASCOE Likely already on the radar of fans of his work, Salt offers an insight into the range and depth of influential Indigenous Australian historian Bruce Pascoe. This collection of stories and essays from the award-winning author of Dark Emu includes some of his most revered work and previously unpublished pieces of fiction — tender stories exploring country, nature and identity — just waiting to be discovered. For those with a short attention span or looking for an introduction to Pascoe's works, this is an ideal read for afternoons on the beach, and a poignant reminder of our nation's history. BEAUTY BY BRI LEE Beauty marks the second book by Bri Lee in as many years to make it onto our Summer Reading List, so she must be doing something right. Once again imbuing her words with a brutal candour, Lee explores our obsession with thinness and beauty, in a world that has made huge strides against the patriarchy, yet still finds us holding ourselves to an impossible and unattainable standard of physical 'perfection'. Readers are invited into Lee's world in a 150-page essay on her battle with eating disorders and her final rejection of society's punishing ideals. For anyone that loved Eggshell Skull — and pretty much everyone else, too. THE ARSONIST: A MIND ON FIRE BY CHLOE HOOPER Published in October 2018, this novel isn't a 2019 book. But, with catastrophic bushfires currently burning across Australia, its content couldn't be timelier. Following the trial of the man charged with lighting the Latrobe Valley fires, part of the 2009 Black Saturday bushfires that killed 173 people in regional Victoria and burnt over 450,000 hectares, Chloe Hooper's The Arsonist: A Mind on Fire is devastating and haunting. It includes harrowing accounts from those injured in the fires and fascinating details from the investigation, all delivered with captivating and lyrical prose. And, while it's a work of nonfiction, it reads like a thriller — and it's impossible to put down. GIRL, WOMAN, OTHER BY BERNARDINE EVARISTO Two books won this year's Booker Prize: Margaret Atwood's 34-year follow-up to The Handmaid's Tale, called The Testaments; and Girl, Woman, Other by Bernardine Evaristo. We're recommending you read the latter. Following the interconnected lives of 12 characters, mostly Black British women, from different generations, religions and social classes, it's a joyous, poetic read. You'll meet lesbian playwrights, investment bankers and farmers, all battling everyday problems and larger social issues, such as race and sexuality. As well as being a collection of 12 separate, intimate portraits, the book successfully paints a polyphonic picture of modern-day Britain. FLEISHMAN IS IN TROUBLE BY TAFFY BRODESSER-AKNER A renowned celebrity profiler — if you haven't already, we suggest you read her New York Times Magazine piece on Gwyneth Paltrow ASAP — Taffy Brodesser-Akner first dipped her toe into fiction this year with the release of her debut novel Fleishman Is in Trouble. And Fleishman, a recently divorced, now-single dad navigating the world of dating apps, sexts and raising two children, really is in trouble. As is our narrator: stay-at-home mum Libby. And Fleishman's ex-wife, Rachel. While the bulk of the novel is dedicated to Fleishman and his struggles, it also cleverly explores how women's stories are often over-looked and sidelined. Its ending more-than rewards readers for pushing through some of the less-gripping sections, too BELOVED BY TONI MORRISON The first African American woman to win the Nobel Prize for Literature, Toni Morrison passed away in August at the age of 88. Her novel Beloved wasn't published this year — in fact, it was published way back in 1987 — but we think this summer is the perfect time to revisit it, or pick it up for the first time. Arguably Morrison's best-known novel, Beloved follows an escaped enslaved woman who is haunted by decisions and trauma from her past. It's not an easy read, nor should it be. The Pulitzer Prize-winning novel has had far-reaching cultural influence since its publication, including on Jordan Peele's 2019 horror flick Us. If you'd like to explore this connection further, we suggest listening to this episode from The New York Times podcast Still Processing. Words by Aimee Sics, Emma Joyce, Leisha Kapor and Samantha Teague.
In Stay of the Week, we explore some of the world's best and most unique accommodations — giving you a little inspiration for your next trip. In this instalment, we take you inside the San Domenico Palace, a Four Seasons Hotel. This luxe Sicilian stay is the real life set of The White Lotus season two, set within a 14th-century convent. Welcome to the playground of the rich and famous. WHAT'S SO SPECIAL? This hotel is located within the ancient town of Taormina, sitting atop cliffs overlooking the sea. Yes, it's stunning. It's also where The White Lotus season two was filmed, meaning that you'll be walking in Jennifer Coolidge's footsteps — perhaps even staying in her glam suite. (A note: it does close over the European winter, with 2022 stays ending on November 28 and 2023 stays beginning from March 14.) THE ROOMS This swanky joint has 111 rooms and suites dotted about the property, most of which boast incredible views across the Ionian Sea. And those without ocean views get to look out towards Sicily's famous active volcano Mount Etna. It's obvious, but still worth mentioning that entry into this world doesn't come cheap, with rooms starting at about AU$850 a night and suites going for upwards of AU$10,000. It's stupid, but look at the photos — this place is gorgeous. We can imagine ourselves sitting in one of the sea-view suites, dipping in and out of our private plunge pool with a cheeky negroni sbagliato in hand — and then living off nothing but packets of ramen noodles for the rest of our lives. FOOD AND DRINK This is a Four Seasons Hotel, so you can expect some incredible food onsite. It has three separate restaurants and a garden bar (with the obligatory room service, too). Principe Cerami is the fine-dining restaurant, where you can wear your most glamorous holiday gowns and suits — because, we all have those, right? The slightly (just slightly) more chill restaurant Anciovi is where you'll get those White Lotus vibes. Grab a seat looking over uninterrupted views of the ocean and sink deep into la dolce vita. Sicily has got to be one of the best places in the world to eat, thanks to all that Italian cooking — be sure to get all the best local dishes while you're here. THE LOCAL AREA San Domenico Palace is in one of the most stunning parts of Sicily. Views from any part of this town are incredible, but this area is also steeped in history, with so much being preserved. The most famous site is the Teatro Antico di Taormina, as also seen in The White Lotus. It's an ancient Greco-Roman theatre which is still used to this very day. When visiting, you can see openair live orchestras and theatre permeances, all the while looking out over the sparkling waters. And, of course, you've also got plenty of beautiful beaches and coves down below the cliffs of the town. Beach hop for a few days before heading off another iconic Sicilian town — our picks are Palermo, Modica, Catania, Syracuse, Agrigento and any of the Aeolian Islands. THE EXTRAS A place this lavish doesn't just offer stunning views, rooms and food. There's always more. Treat yourself even more with massages, facials or scrubs in the Botanica Spa, or hit up the gym to work off all the arancini and pasta you'll be eating during the stay. But you really should explore the local area while you're here, too — and the San Domenico Palace team will organise all the best exclusive travel experiences for you. Go on a stargazing safari, a food tour around Mount Etna (led by the hotel's head chef), an Aeolian Islands sailing trip or even try a unique Sicilian sushi masterclass (yes, that's a thing). If you want to take advantage of all this, best get saving now — or start buying some more lotto tickets. For more information about San Domenico Palace, head to the hotel's website. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
The Standard Store on Gertrude Street is anything but standard. From eccentric pins made by graphic designer Georgia Perry to uber-trendy tops from Commune de Paris and bright, geometric dresses by Henrik Vibskov, owners Orlando and Nicola Reindorf know how to create a store filled with the kind of items that make you feel unique. There's no fast fashion to be found. Instead, the pair make bi-annual overseas trips to ensure that anything they source from over the pond is of the same quality as the homegrown brands they consistently back. Image: Caitlin Morahan.
